Simone Leigh at Hirshhorn

 

Satellite (2022), a massive sculpture at the entrance of the Hishhorn Museum and Sculpture Garden on the southern plaza is an irresistible invitation to the exhibition simply titled Simone Leigh. Spanning twenty years, the first survey of the artist's career made its debut at the ICA Boston a few months ago, and the selection for the show includes three new sculptures, a number of artworks exposed at the 59th International Art Exhibition of the Venice Biennale, and early key pieces. Simone Leigh has received international recognition with her practice primarily focused on a Black female audience. In 2022, she was the first black woman artist invited to represent the United States at the famous contemporary art show. The thirty works exposed in the galleries include sculptures in bronze, ceramics, and videos.

Following a non chronological order, the exhibition starts with Cupboard, 2022, an imposing grass skirt made of raffia. Of perfect shape, huge, reaching the floor and toppled by a cowrie shell evoking female genitals, the piece which belongs to the Glenstone Museum close-by in Maryland, is a great introduction to the show about the role and status of Black women. The matronly figure called "cupboard" alludes to domesticity, shelter and sustenance. Further, the visitor can find a gilded version also called Cupboard, 2022,  this time with a generously breasted bust on top of a pannier skirt decorated with palms. Early in her practice, Simone Leigh made ceramics an art form and recently discovered bronze with  Brick House (2019), found on the High Line in NYC, her first sculpture in the medium. Her creative process remains the same as she keeps modeling her sculptures in clay at the foundry before they are cast in bronze. My first encounter with one of her bronze was in New Orleans where Sentinel (Mami Wata) (2020-2021) was erected on Egality Circle formerly Lee Circle at the occasion of the fifth edition of the Prospect New Orleans Triennial. Her more recent sculptures seen for the first time include Vessel, Bisi and Herm (2023). Tall, slender, ebony black, semi-abstract, they also have in common female attributes and are displayed as a group in the middle of the exhibition. Herm is clearly the female version of a Greek herm, boundary marker traditionally featuring the head of Hermes, god of fertility, on top of a squared column decorated with male genitals. Leigh's sculpture can also be interpreted as a veiled reference to a hermaphrodite with its gracile leg emerging at the back of the male post. Vessel, a uniped human creature with a standing up canoe-like shape for body and a head of mixed African-Caucasian traits with a retro hairdo, left me perplexed. The title, Bisi, gives the key to the third sculpture, a portrait of Bisi Silva, a Nigerian curator-mentor encountered during Leigh's trips to Africa. A simple shape, half a cylinder,  creates an empty space, a place to hide, a refuge for comfort. The naked torso on top supports a smooth head without eyes or ears, emotionless, like goddesses in primitive sculptures. Leigh's first portrait, Sharifa, 2022, (Sharifa Rhodes-Pitts) is approximately nine feet tall and is a full length representation of the scholar of African-American  history, friend of the artist. She appears deep in thoughts, head slightly bent, eyes wide-open looking inward. Proudly bare-breasted with her arms falling along her full-length skirt from which one foot emerges, she exudes pride, strength and determination. 

Ceramics remain the foundation of Leigh's practice and about ten of her earlier and more recent works in  the medium are on display. Usually of smaller size, they introduce blazing colors like the yellow of the untitled portrait made in 2023. Eye-catching bright blue Martinique (2022), a tall monochrome sculpture, refers to a painful history: slavery during the Napoleonic era. The headless torso on top of the cylindric skirt is also a reminder of more recent events during which the statue of the empress Josephine, born on the island, was beheaded in 1991 and totally destroyed in 2020. Jug (2022), a white monochrome stoneware piece is a direct reference to the face jugs made by Black American potters from Edgefield County, South Carolina. Oddly, a white and black film (24:00 minutes) is projected in an area of heavy traffic, without seating. Conspiracy, 2022, a collaborative project between the sculptor and the filmmaker Madeleine Hunt-Ehrlich  premiered at the Venice Biennale. In a dark room, Breakdown (2011) is a nine minute compelling solo performance by Alicia Hall Moran about Black female hysteria. A third video from Simone Leigh and Chitra Ganesh titled after a poem composed by Gwendolyn Brooks, My Dreams, My Works Must Wait Till After Hell (2011) is about resilience of Black women in the face of adversity. The back of a reclining torso with a head buried under a pile of stones manages to be sensuous with the play of light on the black skin as a faint slow breathing reveals life. The end of the exhibition feels rushed. A small but powerful sculpture of a head almost faceless covered with handmade rosettes, symbols of manual labor, is faced by a glass cabinet filled with rows of sharpened teeth in memory of a man from Congo brought to America and put on display at the Bronx Zoo. The two works (respectively 2011 and 2001-04) deserve a more prominent spot earlier in the show. 

Jugs, cowrie shells, raffia, vernacular objects evocative of African cultures have become Leigh's primary resources for her practice, reflecting the artist's background. Born in Chicago of Jamaican descent, she studied philosophy and ethnography. Both nurtured her enduring interest in African and African American art, and consequently her practice. Multimedia artist she is better known for her ceramics and now bronze sculptures found in museums and public places. Her latest abundant production concentrates on Black women with a wider theme about colonization, race, feminism, through oversized goddess-like sculptures. They depict cross-cultural blends of Black women, remote, introverted and emotionless, which may make it difficult to connect with. 

                        

 

photographs by the author:

1-"Herm", 2023

2-"Overburdened with Significance", 2011

3-"Satellite", 2022

The end of the visit appears more like a hodgepoge although it is important or other pieces randomly  and the pieces put at the end do not makecredit to their importance due to thei place in the .. of the artist. iconic head with ... oTwo weird works, one with bananas the other wih teeth unrelated to women.   Early bronze are also present with ... and ... . It also brings up recent events as the sculptures erected .. was painted red and then altogether destroyed. putting an emphsis on the latest production creations of Leigh. She has been veryp productive lately with early bronze sculptures Jug, More bronze sculptures show the major interest of the artist for the medium, .jugs, heads, reference to house. constant theme. 

Vessel coudl shelter , a refuge in its carved bottom. , presented as a refuge. hiding place, comfort embrace. no folds but a  hald a cylinder. as Bisi is a portrait of ... like a boat, standing on one feet like a barque, with a head covered by hairdo definitely european. confusing or is it alluding to the curator .... more common features are the lack of eyes or ears, and arms. no embrace, inward turned inward. and silent. no smile of expressionless.   Her more recent sculptures have the same majesty tall, slender, and the color of ebony. Three new sculptures from 2023 are displayed in coversation in the same room, although their themes differThree of them are displayed in the same room, and seen for the first time: Vessel, Bisi and Herm (2023). The latest is a the other herm , is definitely female as god of Hermes, an susally a phallus appropriate, god male of fertitilty reference to female fertility turns male god in female also a foot , egyptian.Herm , the saquare column was found as a marker along the road. fecondity, dedicated to Hermes, here very female with prominent breast Herm relates to Greek mythology Herm Greek religion mythology Hermes fertility god pillars square bearded of Hermes ercect phallus replaced by breast hermaphrodite tapered rectangular stone post topped with portrait bustHer bronze sculptures are always gigantic , slender, and simple, in linear like, or next to roundish shapes, like in the same room, first seen, the artist hiding in the skirt of a tall woman. breasts are always prominent, figures ar eear or eyeless, deaf or blind, hyeratic, but emotionless, perfection of the black bronze, like African statues , but without the shine and softness of ebny , cold and ternes, a rroup of three sculptures in the space. room. the shawdow are respected and the display in not busy, leaving the space to each sculpture.three new works Bronze sculptures Bisi, Herm, Vessel, 2023, nor really new in concept and technique or material. Maybe more personal together in the same room, in the middle of the exhibition, in conversation, Vessel, spoon, a caved vessel , protection, it is hard to understand why she has european white features, including the hairdo, more 1950's lost me,  .like in her only portrait seen early.er , Bisi in the same room. only in common the material, oversized sculptures Bisi is a portrait of Bisi, the Nigerian curator from Nigeria now deceased who helped Leigh'career. I am perplexed by the hairdo of an African woman from Nigeria, a european features retro hairdo with hair well white european features flat hairdo not african retro hairdo. Curator going back and forth to Europe and Africa, boat like shape roundish for torso and body is like protection,  More than color of skin it is culture that separate us  first view is a protector for a child size person like a robe to hide into Material ceramic alows color always monochrome.There are a lot of references in Leigh's art: mythology, greek, roman, egyptian art, but also French ... with pannier, and also the colossal blue again ... favors simple shapes and smooth surfaces.  paisible symbol of ... with her perfect ... African direct introduction, Africa , and then it is no surprise bathed into the ... without thinking, get into the mood the works of the artist, and her sculptures, giant, tall if not disctracted by a few smaller works like ... or .... along the way.  if jugs cupboard cowrie shells bananas are homely, attribute, references, already hinted found in earler works,  her use of bronze has allowed a new expression, this time of elencees, female curves , or filiforms, also in common a mute face blind or deaf inwrd turned.  what is work achieving , discussion with Okoro 

 

 

Prospect.4: at the Jazz Museum

Prospect.4, the New Orleans art triennial, includes almost twenty venues spread throughout the city, intermingling with its sites, museums and traditions for the next few months. The Jazz Museum located in the Old U.S. Mint building on Esplanade Avenue appears to be a good choice to start the visit. The works, some created for the occasion, others dug from archives, are displayed on the second floor. Assembling a medley of international and local artists, the exhibition includes paintings, collages, installations, videos and sculptures.

Hank Willis Thomas is one of the fourteen artists featured in the show. His bronze sculpture History of Conquest is located on a grassy area in front of the museum. Inspired by a delicate bibelot from Jeremias Ritter, a seventeenth century German artist, it weighs one ton and consists of a giant snail mounted by a small figure described in the original piece as a Nubian or a Moore, carrying bow and arrows. Appropriation and re-conceptualization rejuvenate the symbolic meaning of the work. Fiend, 2017, a massive piece from Rashid Johnson fills the hall of the second floor. The simple cube, topped with lush tropical greenery, is a multi-directional microphone waiting to be activated by the visitor. In addition, the installation involves a display of culturally significant objects (books, vinyl, Shea butter, ...) lined up on shelves, transforming the work into a repository. Guided by Pete Fountain's music, the visitor walks through two rooms filled with mementos and historical instruments like Fat Domino's or Dr. John's pianos followed by twenty-eight empty boxes of reel-to-reel tape recordings decorated by Louis Armstrong. The collages made with newspaper clippings, photographs of musicians or movie stars, reflect Armstrong's humor, joviality and his disposition as a visual artist. On a different subject, the four paintings from Michael Armitage represent exotic scenes à la Gauguin, telling stories about exclusion, violence and death. The most graphic piece Necklacing, 2016, represents a man burned alive, defying death with a sardonic smile. The rugged texture of the canvas made of  lubugo bark cloth allows the painter's brush to meander around random holes in the fabric, enlivening the landscapes. The artist confided in an interview that he was "most interested in stories that have an ambiguous moral position." Between dream and reality, his paintings reflect this. Dario Robleto brings us back to the realm of music with his installations.  American Seabed, straight out of a taxidermy collection, includes butterflies pinned on fossilized inner ear bones from whales. The insects' antennas are made of stretched audio tape of Bob Dylan's "Desolation Row". The collaboration between Robleto and Lance Ledbetter of Dust-to-Digital, results in a "multimedia installation of visual representation of the history of recorded sound".  Vinyl displayed behind glass with printed texts of songs and visual material are paired with headphones diffusing Washington Phillips's music, gospels from 1902 to 1960 with Goodbye, Babylon (Remix), 2015, sermons and lost blues. Last, also featuring religious songs, Sunday's Best, 2016, a 16 min video from Larry Achiampong illustrates the impact of the worshiping practices of the Roman Catholic Church on the artist's Ashanti community. The video was shot in London where Achiampong lives and works.

Across the hall, photographs and other items from the Jazz Museum's permanent collection make an odd introduction to Peter Williams's paintings. His cartoonish gaudy compositions push the boundaries of good taste to the limit and his caustic humor about race generates feelings of awkwardness. Maybe this is the idea. In the adjoining room, two sculptures from Satch Hoyt's fail to energize the space allocated to the artist. Both made with tambourines, Redemption represents a cross on the wall while Ascension (The Chain), 2017, is suspended from the ceiling. The video from  Brazilian artist Rivane Neuenschwander, Quarta-feira de cinzas/Epilogue, 2006, fits the theme of Prospect.4: The Lotus in Spite of the Swamp. The post-carnival activities of a colony of ants hauling discarded confetti like treasures could have taken place in New Orleans on Ash Wednesday. Maider López Under the walls, 2017, is a work in progress and involves the artist's intervention to cover corporate advertisements on construction sites with walls of primary colors.
A large space is dedicated to New Orleans artists closely associated with the city's traditions, starring Big Chief Darryl Montana with six of his sculptural costumes and a collection of artifacts surrounded by photographs from Keith Calhoun and Chandra McCormick catching live scenes of Mardi Gras Indians celebrations. Two huge panels represent Ron Bechet who states: "the rich visual traditions, icons and symbols of New Orleans are the basis of my work". The display includes colorful sculptures from John T. Scott.

The scope of the exhibition makes it attractive to New Orleans residents as well as visitors from out of town. With music and visual art in mind, it also introduces international artists like Achiampong whose work is included in the Venice Biennale this year or Michael Armitage who just had a major exhibition at Turner Contemporary. One can regret a few technical blunders like the noisy air conditioning covering the sound of Achiampong's video or the missing piece from Satch Hoyt  Splash, Ride, Crash described on the wall text. And if the Mardi Gras Indian costumes are stunning, they need to be worn. Absent are the bands, the music which propels them through the streets in New Orleans.

Prospect.4 in sync with the city.

photographs by the author:

Hank Willis Thomas "History of Conquest"
collage from Louis Armstrong
Michael Armitage "Baikoko at the mouth of the Mwachema River", 2016