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Sep/Oct/Nov 2022
Free to Be Me and You and Me and You and You
Exploring the outer fringes of music
Sasha Frere-Jones
Sound Experiments: The Music of the AACM by Paul Steinbeck. Chicago: University of Chicago Press. 304 pages. $33.
Free music production/fmp: the living music by markus mÜller Hofheim: Wolke Verlag. 400 pages. $40.
The Cricket: Black Music in Evolution, 1968–69 edited by Amiri Baraka, A. B. Spellman, and Larry Neal. Brooklyn, NY: Blank Forms Editions. 184 pages. $35.
IT FEELS RIGHT TO START WITH A THUMBNAIL HISTORY from Valerie Wilmer, the British photographer and writer who published As Serious as Your Life in 1977, one of the first book-length attempts to document a music with as many names as heroes.
It was at the turn of the 'sixties with the appearance of a series of recordings made by Ornette Coleman, an alto saxophonist from Texas, that the music hitherto known as "jazz" began first to be described as "free" music. Coleman, along with the pianist Cecil Taylor and the tenor saxophonist John Coltrane and, eventually, the drummer Sunny Murray, gave other musicians who were tired of the restrictions placed on their playing by earlier forms the opportunity for greater freedom. The three innovators had different approaches, but basically their message was the same: the player no longer needed to confine himself to a single key, or to use a set pattern of chords as a base for his improvisation, nor did he have to stick to a given time-signature or even, with the absence of a regular pulse, to bar-lines. The New Music, as it began to be known among musicians, opened up new vistas for everyone.
That "New Music" is also called free jazz, creative music, and, in cases where the jazz is hard to hear, free improvisation. Beginning in the late 1950s, Black American jazz musicians began to stretch what improvisation meant, within the context of jazz, eventually establishing a practice that seeded many other musics. It is unlikely, for example, that Sonic Youth would have gone as far out as they did, or with such intensity, without free jazz as a model. Ornette Coleman helpfully titled an album Free Jazz in 1961, and is not a terrible choice for Day One. It wasn't, really, but Coltrane himself cited Coleman (and others) when asked why he took his playing further into energetic dissonance, and it was Coltrane who brought the overblown (literally) and ecstatic torrents of sound to a wider audience. (Ryuichi Sakamoto credits John Coltrane with inspiring his interest in free jazz, which was so sincere that his first commercially released album—Disappointment-Hateruma—was a freely improvised duet.) Albert Ayler famously said, when asked about the lineage he helped establish: "Trane was the Father. Pharoah [Sanders] was the Son. I am the Holy Ghost."
"We're talking about several successive generations of musicians, which seems to me the most important point, rather than a string of innovators one after another," writer, curator, and producer John Corbett told me. Corbett has presented free improvisation concerts since the '80s and wrote the invaluable and brief A Listener's Guide to Free Improvisation, published in 2016. The lineage is not simple, and defining this fractious cohort can be more difficult than the music. "Free" is a word with almost infinite appeal and no mandate to be specific. Positing a free music implies that another kind of music (or musician) is unfree, an idea that most of the people mentioned here would not sign up for. In any of these cases, what is the proximate restriction one is free from? In the case of free verse, writing is liberated from metric forms like the villanelle or the sonnet, but Whitman did not likely think of Donne as a less free poet.
Roscoe Mitchell, Lester Lashley, and Lester Bowie of the Association for the Advancement of Creative Musicians rehearsing on the University of Chicago campus, ca. 1965. © Alan Teller.
Where the sympathetic hears life force made concrete, the unconvinced hears bleating without the reward of melody and drums following anything but the compass of rhythm. Where the open-minded hears the eager exploration of "interaction dynamics" (as Corbett puts it), the tourist hears mutual indulgence and a lack of discipline. I first heard freely improvised recordings in the mid-'80s and the effect was profound. The energy that flows from these recordings is a rare tonic and the compositional possibilities they present are far more serious than the impatient imagine. I've rarely used free improvisation in my own music, but it is important enough to me that I helped produce a collaborative album with, and for, Derek Bailey in 1999. Free improvisation has a committed sense of respect for how time elapses and how instruments sound and these are variables one can spend a lifetime understanding.
The top results for "free jazz" playlists on Spotify feature music by the names you see here, but mostly collect jazz songs with sections of free playing, which is not the same as free jazz. Or is it? Eric Dolphy's 1964 track "Hat and Beard" is a good example: a snaky theme that nods to Thelonious Monk, and stretches of Dolphy wringing holy whistles out of his bass clarinet. "Hat and Beard" would likely go on one of my playlists, too, though not one with "Free Jazz" in the title—but this does not indicate any confidence that I'd be right. The importance of this music is matched by its lack of borders or internal coherence. Is free music a tendency of mind, a style one can map, or a historical subset of recordings? Plenty of allegedly free music involves composition and direction; and there is, of course, another discussion one flight up, where we consider whether improvised compositions are possibly more structurally coherent and expressive than notated music. Why would the thirty-six minutes of saxophone and drum music on John Coltrane's Interstellar Space (recorded in 1967) be considered somehow less clear simply because it was noisy and largely improvised? It made me see pancakes this morning and I had already eaten. Pure magic.
One thing made clear by three new books is that the people who play and love this music often form collectives to keep the work and each other alive. Whether it's through a record label or a magazine or a community organization, people in free music take care of each other. Markus Müller's Free Music Production/FMP: The Living Music is a physically big (13.2 x 9.6 inches) and affectionate accounting of a Berlin-based organization that (at least sometimes) objected to even being called a label: FMP, or Free Music Production, which released over four hundred albums between 1969 and 2010, most of them freely improvised music. Tenor saxophonist Peter Brötzmann and bassist Jost Gebers developed FMP in the mid-'60s and gave harbor to a host of musicians who were no longer entirely at home in jazz, in large part because they had been moved by the American holy trinity and wanted to create a freestanding, European response. In 1972, Gebers and Brötzmann formalized FMP on paper, including bassist Peter Kowald, pianist Alexander von Schlippenbach, and drummer Detlef Schönenberg.
Müller has collected a gorgeous array of blocky, sere flyers and black-and-white photographs from FMP shows; they take up more than half of the book, and bring home how careful and prolific this crew has been. Also, Brötzmann's design sense is immaculate. (He was a painter first, and still is.) But we are here for the music, and to that end, Müller reproduces the FMP manifesto, a typewritten page issued during the '70s: "The FREE MUSIC PRODUCTION is a non-profit organization with the intention of creating, independent from the commercial music industry, a better working condition for today's creative jazz musicians and composers, and to give the audiences a more suitable possibility for a general view of the new jazz music." (The statement uses the words "free," "creative," and "new"—even the people inside the music haven't known which words to settle on, or if they are maybe even fungible.) FMP go on to state that they will cooperate with "similar organizations in foreign countries," including the Instant Composers Pool in Holland, and Incus in England. In 1976, Evolution Ensemble formed in Tokyo, but only went on to release one album. The traditional jazz musician looks first for gigs; the free player looks for other free players.
"Most musicians in this world know that if you think free music involves some kind of ontological freedom, you're going to be disabused of that notion pretty fucking quickly," Corbett told me. "Your instrument has a fixed material form, even if you disassemble it, which many have done, and no matter how freely you interact with the other musicians around you will likely sound like yourself." In July, the label associated with his art gallery, Corbett vs. Dempsey, reissued four titles from the FMP catalogue, including music by Steve Lacy and Evan Parker, the Georg Gräwe Quintet, and Hans Reichel. The Reichel album Bonobo Beach, recorded in 1981, is a favorite of mine, and it throws the idea of free improvisation further into chaos. Reichel built his own guitars, rearranging the roles of the bridge and the pickup and the fretboard. His improvisations sound more like minimalism than skronking. "I think he made those instruments to explore them," Corbett told me. "I don't think the pieces on Bonobo Beach were precomposed. It's more like the instruments were precomposed."
As we talked it became clear that "free from" is as important as "free to" in this cohort of musicians. FMP itself was inspired by American music, at depth and at a distance, but the first reason for the group forming at all was a dress code. In 1968, when Brötzmann and his ensemble were slated to play the Berliner Jazztage (today JazzFest Berlin) but refused to wear black business suits, they were disinvited. In response, Brötzmann and Gebers started the Total Music Meeting in Berlin. Pianist Irène Schweizer remembers that, "thousands came to the FMP concerts back then, it was really paradise. Free Music was revolutionary music, and in Berlin our music became radicalized. . . . Kowald once called this phase the 'Kaputtspielphase,' a phase of playing everything into the ground, and I was part of it. It was often insanely loud; you felt like you were in a trance. Some people got up and left, fleeing because they couldn't stand the noise, while others sat there with their mouths agape in amazement." Schweizer addresses both the importance of this vaguely defined music and its extremity, the latter being all some can hear. Remember the title of Wilmer's book: As Serious as Your Life. Why would you make things so hard on yourself, as a musician, when you could simply play the kind of music that pleases labels and listeners? Because you can't.
Brötzmann, discussing the commitment of Gebers, saw the direct link between the spirit and the business. "I knew that we would sell 100 units and the other 500 would end up lying around. And so FMP always skirted the edge of the abyss. We've always been on the brink: Are we broke or not? And sometimes, when I noticed he'd put in tens of thousands into the company again after inheriting a bit of money, I'd say: Jost, is it worth it? But he wouldn't have it any other way. He couldn't be dissuaded. And without this insanity, without this passion, a wonderful thing like the [eleven-CD] Cecil Taylor box for example would never have happened. I remember when Cecil saw the first box, he had tears in his eyes. Something like that for sure never happened to him in his own country."
No disrespect to Brötzmann's solidarity, but Taylor's own country not only birthed the music but is also home to one of most significant collectives: the Association for the Advancement of Creative Musicians. Taylor wasn't a member but it is entirely plausible that they would have banded together to put out an eleven-CD box set for him.
Years before FMP, the Chicago collective established a template for working together. In their 1965 "Modus Operandi," they defined their purpose at length, including the idea of cultivating "music of a high artistic level for the general public through the presentation of programs designed to magnify the importance of creative music." Their concerns included "spiritual growth" and "high moral standards," and the M.O. makes repeated mention of mentoring young musicians. The AACM was founded by pianist Muhal Richard Abrams, who gave a casual comment in a 1967 interview that sums up the formal complexity that obtains once all the organizing is done and it's time to play the free music that you've freed yourself to play: "You don't need much to get off the ground when your musicians are spontaneous enough—just rehearse and let things happen. . . . I had to write quite a bit until I had musicians who could create a part, and then I wrote less and less. Now I can take eight measures and play a concert." He is speaking here of his own Experimental Band, and this is quoted in Paul Steinbeck's magisterial Sound Experiments, a look at the AACM through "a set of ten compositions, improvisations, and recordings." Steinbeck is a musician who has worked with members of the AACM, and previously wrote Message to Our Folks, a book about the Art Ensemble of Chicago, the AACM's flagship band, which is still going, as is the AACM.
Sound Experiments contains many transcriptions and technical descriptions, but Steinbeck is a fluid writer and there are stories to tell. Art Ensemble member Roscoe Mitchell is part of one classic tale that led to the 1977 album, Nonaah. After colleague Anthony Braxton was unable to attend the Willisau Jazz Festival in Switzerland, Mitchell filled in and played a very long solo saxophone concert, much of it improvised around a theme he wrote in 1972 called "Nonaah," which the Art Ensemble had already recorded.
The crowd at Willisau was excited to see Braxton and unhappy to be confronted not with a band but with one man and a saxophone, playing a hostile theme full of big, almost cartoonish jumps. You can hear the crowd yelling; in response, Mitchell grinds out the last note of each phrase, throttling it with the distortion of the reed itself, literally blowing a raspberry back at the crowd. Eventually, the audience settles down, and Mitchell wanders into the rest of the composition, moving through quieter sections and navigating a melody that hops between octaves like a fly across the water. Mitchell later said, "The music couldn't move [until] they respected me, until they realized that I wasn't going anywhere, and if someone was going it would have . . . to be them." He moves in and out of calm passages and takes the listener through some tweaked reed distortion, noisy enough that it's hard to believe the sound involves no electronic interventions.
Part of the confusion is that this free music is the offspring of Black American jazz, which itself represents an uncanny dialectic. A music that celebrated swing and the lushness of possibility in melody created a style that inverted all of that and threw everything away except for the instrumentation. Someone who had fallen in love with Dexter Gordon might find Roscoe Mitchell's brass serrations unbearable. But the love flows both ways and the Art Ensemble often played sumptuous, straight-time jazz, when they felt like it. Even Derek Bailey started playing in jazz trios. (For anyone who wants to see the wider picture of improvised music, his 1980 book, Improvisation, is an unmatched piece of argumentation and felicitous writing.) There have long been wars between the perceived mainstream and the avant-garde—look up Wynton Marsalis interviews from the 1980s and late Stanley Crouch—and more than enough suggestions that these conflicts, like most trends, are minor and generated more by the writers than those written about.
Except when they were not, and for The Cricket, a magazine published briefly between 1968 and 1969, these conflicts were fully serious. Created on a Gestetner mimeograph machine, all four issues of The Cricket were overseen by writers A. B. Spellman, Amiri Baraka, and Larry Neal, and Blank Forms has compiled them as The Cricket: Black Music in Evolution, 1968–1969. Had it lasted longer, the cricketers would not likely have been kind to the FMP gang. Theirs was a specific remit to defend "the history of Black Music," most often from white critics and record label owners (depicted here once as "Norm," in cartoon form). The Cricket was also coming straight from the practitioners themselves: Sun Ra contributed an essay about the purpose of his "space music" and Crouch, before he quit drumming and his neoconservatism kicked in, talked about the music of Horace Tapscott, a musician whose lineage stretches down into the work of Thundercat and others in today's LA jazz community. There are poems to John Coltrane and perhaps, most fittingly for what would now be called a zine, one page with only a single question repeated sixteen times, followed by many question marks: "DO YOU THINK THE MAFIA KILLED OTIS REDDING?" If the answer is yes, or even maybe, it frames what "free" can really mean.
Sasha Frere-Jones is a musician and writer living in the East Village. He recently finished a memoir, Earlier, which will be out soon-ish; and recordings by his first band, Ui, can be heard now on Numero Group.


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Leadership recruitment, cause of Nigeria's setback — Anyim
Pius Anyim
A former Secretary to the Government of the Federation, Pius Anyim, on Thursday attributed what he called Nigeria's setback to the nation's leadership recruitment process.
He said when leaders without proper training were recruited, they will not be able to carry out their tasks well. Anyim spoke at the presentation of a book titled "Leadership principles for junior commanders in the military," in Abuja.
The book was written by the acting Commandant, Nigeria Army School of Medical Sciences, Ojo, Lagos, Colonel Chukwu Obasi.
Anyim said, "I want to believe that the basis for our setback today is on the process of leadership recruitment. When leaders are recruited without proper training, certainly, they would not have any basis to apply certain principles that would make them do their work efficiently and dependably."
He, however, called for a synergy between the Armed Forces and leaders to deliver the dividend of governance to the people.
"The interface between the military and the civil society has become an inescapable narrative and we must build the interface in such a way that we would know the dividing line.
"There is a nexus between the administrators of the polity and the defenders of the polity and both must work hand-in-hand and understand their borderlines in other to deliver services," he said.
Anyim also rued his missed opportunity to join the military, according to him, he would have loved to join the military to help fight some of the challenges confronting the nation.
Zamfara killings: Anyim mourns, says people should not live in fear in their own home
Responses to my presidential bid overwhelmingly encouraging – Anyim
Bad leadership has reflected on every Nigerian- Shina Peller
Anyim said, "In my first year in the university, my uncle who was a warrant officer told me about the Direct Short Service form. I told some of my friends about it, they encouraged me and I at that time felt I would do better as a soldier than a graduate from the university.
"I went back to my uncle and asked him to look for a form for me, he did but by the time I returned the form to him, it was late. I was never invited to the screening. If I had submitted on time, I would have been selected to serve in the Nigerian Army and it would have been a sweet experience for me to help Nigeria combat some of the challenges we are facing today," Anyim said.
The Emir of Kaura Namoda in Zamfara, Sanusi Muhammad, blamed the insecurity on the country on the lack of good leadership at the grassroots level.
He said, "The security challenges we are facing in Nigeria lies with leadership, if we had gotten the leadership right from the grassroots our problems will not have been the way it is. If you are a leader, you will face challenges and you must address them. "
Contact: theeditor@punchng.com
Tags: bad leadership Pius Anyim

redpajama_set_name: RedPajamaCommonCrawl


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In The Legislature
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One Stop Government Shop
Birth, Death and Marriage Certificates
Other Constituent Services
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COVID-19 Notices & Resources
Frontenac Gazette: Repointing of Grace Centre officially under way
June 22, 2017 · Flag · Add your comments
Jun 11, 2017 by Tori Stafford Frontenac Gazette
It may not have been with his usual ballpoint pen, but MPP Randy Hillier put his signature on the official launch of the Grace Centre restoration project another way: with a chisel and hammer.
Hillier, MPP for Lanark, Frontenac, Lennox and Addington, joined those from Southern Frontenac Community Services, as well as a handful of local politicians and township staff, to kick off the restoration project. The Grace Centre, originally built in 1861, originally served as a Methodist church before becoming Grace United Church in 1925. Now serving as a hub of activity for local seniors and community groups, the 156-year-old limestone building is undergoing a restoration project to repoint the masonry, thanks to a grant through the Ontario Trillium Foundation.
Southern Frontenac Community Services was awarded an Ontario150 Community Capital grant for $38,200 over nine months. Speaking on behalf of the Ontario Trillium Foundation, volunteer John Blake explained why he feels the project is a good example of those the Foundation aims to support.
"The Trillium Foundation is a government agency… So it's a taxpayers-funded agency, and what better way can we spend taxpayers' money than on projects like this," Blake said.
"Although the project is for the renovations, to me it's more about the people that use and are going to use this building, hopefully for generations to come. Community centres such as this… are a vital part of our communities."
Hillier then spoke about the importance of agencies like the Ontario Trillium Foundation who offer direct support for communities across the province.
"The Trillium Foundation supports our communities, but it also illustrates the best and good parts of democratic government: when we have a non-partisan assistance and support for our communities," he said.
"Forget the drama and the theatre of Queen's Park and provincial politics. This is the stuff that really makes a difference, this is the stuff that matters… I know our communities will continue to endure and prosper and be successful when we work in the same fashion that the Trillium Foundation demonstrates through its non-partisan support of our communities."
Additionally, South Frontenac Community Services' Andy Mills, fund development and administration manager, read comments sent from Sophie Kiwala, MPP for Kingston and the Islands, who was unable to attend. David Townsend, executive director of South Frontenac Community Services, then expressed gratitude for the support the organization has received from both MPPs, and through the Ontario Trillium Foundation.
"They've helped us tremendously [to] acquire this building, and get things going," he said, noting that Southern Frontenac Community Services likely would not exist without that support.
"We're thrilled to be turning this whole thing over… to Craig Beattie and Edgewater Stonemasons… it's not just the stone that they're working with, but it's a community they're working with, and we're thrilled to have them do that, too."
Edgewater Stonemasons have worked on many restoration projects in the past, including those at the Parliament Buildings, the Governor General's residence and number of heritage buildings on Queen's University campus.
Beattie explained that the Grace Centre repointing project will see the removal of Portland cement mortar, which will be replaced with a lime mortar. Most buildings the age of the Grace Centre were originally built with lime mortar, allowing the buildings to retain moisture, which is then evaporated back out in drier, warmer conditions. Over time, that ideology was replaced by the idea that these buildings should be waterproofed, which was done by using the Portland cement; over time, however, that practice proved problematic as moisture could still get into the walls, but had no way out. Beattie described this kind of repointing as "the conservation philosophy of using like with like, and trying to use the materials that were originally used in the construction." But for Beattie and his crew, there is more to the project than simply repointing the building.
"Outside of the technical side of it, we've noticed right away how vibrant a place this is, and how well used it is," Beattie said.
"It's really nice to know that you're helping to preserve the building, and this building is really being enjoyed by people as well, so it definitely adds another element to it for us."
The repointing project will not affect use of the Grace Centre, and is scheduled for completion by the end of the summer.
Full Story: https://www.simcoe.com/news-story/7363079-repointing-of-grace-centre-officially-under-way/
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Art, Other Art, Painting, Travel
30 Americans at the Nelson-Atkins Museum of Art in Kansas City, MO and The Barnes Foundation in Philadelphia, PA
It's unusual to get to see the exact same art show in two different cities, only months apart. I first saw "30 Americans" at the Nelson-Atkins Museum of Art in Kansas City, this past summer. Then, right after Art Basel, in December, I went to Philadelphia and saw "30 Americans" again at The Barnes Foundation. It was fun and interesting to see the same work displayed at different venues. The traveling exhibition was conceived of and put on by the Rubell family, The exhibit was first on display at the Rubell Museum in Miami, FL and has been traveling for almost ten years, with only three more locations to go. Check the schedule to see if you can see it. The Rubell family chooses to display only art that they themselves own. They devise a concept, populate it with work from their collection, and then go out and purchase whatever they need to make the exhibition complete. As the show evolved, the Rubells ended up with 31 artists in "30 Americans." You can learn about how a traveling exhibition works here and can also purchase the exhibition book. I'm glad I did.
I enjoyed comparing how each museum hung the show, along with their own write ups of the art and artists.
Leonardo Drew, Untitled #25, 1992
Cotton and wax
"This sculpture by Leonardo Drew is made of bales of cotton, the labor-intensive cash crop harvested by enslaved African Americans or sharecroppers. Its title invites a variety of responses and interpretations. Its sheer size may spark wonder and awe. Alternatively, this massive wall may overwhelm you with its metaphorical weight – suggesting a towering monument that conjures historical trauma with ongoing impact." (Nelson-Atkins Museum of Art)
"A vast fibrous wall impedes progress and arrests vision in Leonardo Drew's Untitled #25. The raw, weathered cotton and wax recalls cycles of life and decay. The painful history of plantation enslavement becomes visible, as done the continued labor exploitation that facilitates modern life.
By structuring his cotton bricks in a grid format, Drew asserts a sense of manmade order over natural chaos. Creative possibilities emerge from the processes of deterioration." (The Barnes Foundation)
Nick Cave, Soundsuit, 2008
Fabric, fiberglas and metal
Kansas City on left, Philadelphia on right
"Often made in the wake of violence against people of color, Nick Cave's Soundsuits have the power to protect as well as transform. Here, the human form is overtaken by a colorful garden of metal flowers and foliage that the artist gathered from antique shops and flea markets. The result is a presence that is simultaneously highly visible and largely obscured." (Nelson-Atkins Museum of Art)
"Nick Cave began creating sound suits in the early 1990s, in response to personal experiences of racial profiling by police. The suits first served as metaphorical protection from a seemingly omnipresent racist gaze.
Over the years, these "thick skins" have morphed into magical, otherworldly costumes that performers can wear while in motion. While they typify Cave's emphasis on the strength, individuality, and beauty of African Americans, they highlight how, in a hostile environment, many signal their worth through clothing." (The Barnes Foundation)
Jean-Michel Basquiat, Untitled (Self-portrait), 1982-83
Oil on wood
"A self-taught artist, Jean-Michel Basquiat began enlivening New York City subways and the SoHo and East Village neighborhoods wit his street art in the late 1970s. He rose to fame in the 1980s alongside a generation of graffiti artists who introduced the art form to galleries and museums. Although his work frequently refers to figures and events associated with African American history, Basquiat was often ambivalent about race-based interpretations of his art, saying, "I am not a black artist. I am an artist." " (Nelson-Atkins Museum of Art)
Jean -Michel Basquiat, Bird on Money, 1981
Acrylic and oil on canvas
Jean-Michel Basquiat, One Million Yen, 1982
Oil on canvas with wood and jute
Rashid Johnson, I Who Have Nothing, 2008
Wax, soap, shea butter, and mix media on fiberboard
Rodney McMillian, Untitled, 2007/2008
Vinyl, thread, wood, metal and styrofoam
Barkley L. Hendricks, Noir, 1978
Mickalene Thomas, Baby I Am Ready Now, 2007
Acrylic, rhinestones and enamel on panel
"Beauty has always been an element of discussion for black women, whether or not we were the ones having the conversation," says Mickalene Thomas.
"This monumental portrait, like many of her images of sexually empowered black women, revels in an urban afro-chic style, born in the 1960s, that embrace bright colors, adventurous patterns, and revealing lines." (The Barnes Foundation)
Lorna Simpson, Wigs (Portfolio), 1994
Waterless lithograph and felt, 38 panels
"Each of the 21 lithographs in Wigs (Portfolio) features a different hairpiece – curly, wavy, braided, bundled – set agains a plain background. The finished images are pinned to the wall like scientific specimens.
The work reflects Lorna Simpson's ongoing interest in conventions of beauty. Small bits of text, printed onto felt and placed among the extensions, toupees, and falls, speak to the construction of black felinity and the use of hair to enhance, disguise, and transform identity." (The Barnes Foundation)
I saw this exact installation, Wigs (Portfolio) Edition 2/15, at the Walker Art Center in Minneapolis this past March. It is part of their permanent collection. Pretty cool to see this piece shown in three different cities. It's even more stunning in person.
Purvis Young, Untitled, 1985-89
Paint on wood
Kerry James Marshall, Vignette #10, 2007
Acrylic on fiberglass
"Kerry James Marshall depicts scenes from the everyday lives of African Americans, from funerals to picnics in the park. In his exuberant Vignettes series, the artist celebrates the oder of black joy and black love. Figures run toward each other, their arms outstretched. The moment is simple yet also transcendent." (The Barnes Foundation)
Kehinde Wiley, Equestrian Portrait of the Count Duke Olivares, 2005
Kehinde Wiley, Triple Portrait of Charles I, 2007 (one part of a triptych)
Oil and enamel on canvas
Nina Chanel Abney, Class of 2007, 2007
Kara Walker, Compton Ladies, 1988
John Bankston, Man's Country 1, 2004
"When I was growing up, there were very few coloring books that had black characters in them. I knew I wanted them to be black; however, I wanted them to have these open faces where they might not be colored. They could be the color of the ground or the color of the paper as a way for the viewer to step in and sort of finish coloring the picture, because we sort of color our world based on our own experiences." ( John Bankston)
womanseekingart February 4, 2020 February 4, 2020 Kansas City, Nelson-Atkins Museum of Art, The Barnes Foundation
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Events Current Work
Peter Barber: 100 Mile City and Other Stories
The British architect presents his innovative housing projects and speculative urban designs.
Peter Barber Architects | McGrath Road, London, UK, 2019. Image credit: Morley von Sternberg
Thursday, October 21, 2021 12:00 p.m. to 1:30 p.m.
This is an online event. All times Eastern Time.
This program is free and open to all. Advance registration is required. All registered participants will be sent a link to participate through Zoom.
1.5 AIA and New York State CEUs
Registered viewers who join the Zoom airing of the program at 12 p.m. EDT and remain for its entirety are eligible to receive credit. After the program, please email rsvp@archleague.org with your full name and AIA number so we can report your credits.
Peter Barber interview: housing's architectural evangelist, Architect's Journal
Retrospective: Peter Barber, The Architectural Review
Architect Peter Barber Is Reinventing London's Housing, Metropolis
Support the League
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Current Work is a lecture series featuring leading figures in the worlds of architecture, urbanism, design, and art.
This fall and early winter, Current Work spotlights influential and innovative design practices that bring widely varying perspectives to contemporary housing challenges.
Peter Barber is the founder and director of Peter Barber Architects, a studio reshaping London's approach to social housing. His residential projects "read as much as urban manifestos as homes," according to Metropolis, offering provocative, humane responses to today's compounded urban housing crises. Formally, his work revives a wide variety of historic spatial and stylistic typologies. As one critic recently observed, Barber achieves "a kind of militant, architectural evangelism, pushing boundaries of design, chivvying the political class and renegotiating housing's wider social contract with the city."
Recent housing projects include:
McGrath Road, a 26-unit housing development in East London conceived by the firm as "a radical reworking of 'back of pavement terraces' and 'back to back' house types."
Holmes Road Studios, a residential and counseling facility for unhoused people in North London.
365 Cities, a series of speculative projects shared daily via Instagram, defined by Barber as "an attempt to design a city a day for a year."
Following Barber's presentation, he will be joined by Florian Idenburg, co-founding principal of Brooklyn-based SO-IL, and Sarah Watson, deputy director of the policy and research organization Citizens Housing and Planning Council, for a discussion of his work, as well as of the current state of housing design and its intersection with policy. The discussion will be moderated by League executive director Rosalie Genevro.
Peter Barber worked with Richard Rogers, Will Alsop, and Jestico+Whiles prior to establishing his own practice in 1989. He is currently a lecturer and reader in architecture at the University of Westminster. In 2021, he received the AJ100 Contribution to the Profession Award, as well as an Order of the British Empire for services to architecture. His work has been short-listed twice for the international Aga Khan Award for Architecture, and his projects have received numerous Housing Design Awards, RIBA Awards, and AIA Awards.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
The event is co-presented by The Irwin S. Chanin School of Architecture of The Cooper Union.
Past Current Work lectures
Peter Barber
Sarah Watson
Florian Idenburg
Jennifer Bonner: Just roofs
Jennifer Bonner lectures on elements of her work at MALL, including roof plans and faux finishing.
Davies Toews lecture
Trattie Davies and Jonathan Toews reflect on their work and practice.
A conversation with Martin Puryear
Sculptor Martin Puryear discusses his work with Architectural League president Billie Tsien.