Lloyd Foster’s Height and Soil, presented in Long Gallery Harlem’s Art of the Window series, celebrates Harlem’s community through photo-based sculptures created from images of residents and neighborhood landmarks. Echoing Lorraine O’Grady’s Art Is…, the installation transforms everyday moments into art, emphasizing the role of Black communities not only as subjects but as makers within the avant-garde.
After eight years of renovation, the Studio Museum in Harlem reopens in a new 82,000-square-foot building designed by David Adjaye. Rooted in Harlem’s architectural fabric and filled with light, the museum expands its gallery space while reaffirming its historic role as a cultural anchor celebrating Black art, history, and community.
In his critically-acclaimed book, and second ‘anti-canonical reader’ Pasts, Futures, and Aftermaths (2021), Adam Pendleton interviews Lorraine O’Grady. The text compiles writings in radical experimental thought and is proceeded by Pendleton’s Black Dada Reader (2017).
Lorraine O’Grady’s career began with bold disruption. Her 1980 performance Mlle Bourgeoise Noire, storming New York galleries in a gown of white gloves and demanding, “Black art must take more risks!”, set the tone for decades of boundary-pushing work. Her recent resurgence includes the 2017 Wellesley Alumnae Achievement Award and the solo exhibition at the Museum of Fine Arts, Boston.