Arts & Entertainment
Artist Kehinde Wiley to unveil monumental public sculpture in Times Square to be permanently installed at the VMFA
The statue, which depicts a black man riding a horse in a similar fashion as that of J.E.B. Stuart’s on Monument Avenue, will be installed later this year on Arthur Ashe Boulevard.
Times Square Arts, the Virginia Museum of Fine Arts (VMFA) and Sean Kelly, New York announced Thursday the forthcoming unveiling of artist Kehinde Wiley’s first monumental public sculpture Rumors of War in Times Square, New York. This large-scale work will be installed this fall on the Broadway Plaza.
Following its presentation in Times Square, Rumors of War will be permanently installed on historic Arthur Ashe Boulevard in Richmond at the entrance to the VMFA, a recent acquisition to the museum’s world-class collection.
Presented by Times Square Arts, an opening ceremony will be held on September 27, featuring remarks from the artist and partners. Additionally, a ribbon-cutting ceremony will take place at the VMFA in December.
Kehinde Wiley is a world-renowned visual artist, best known for his vibrant portrayals of contemporary African-American and African-Diasporic individuals that subvert the hierarchies and conventions of European and American portraiture. Rumors of War, his largest work to date, continues Wiley’s career-long investigation of the politics of representation, race, gender, and power. With this new sculpture, Wiley returns to equestrian portraiture to engage its complicated visual rhetoric of warfare and heroism on an epic scale.
Mounted proudly on its large stone pedestal, Wiley’s monumental bronze sculpture, Rumors of War, is the artist’s direct response to the ubiquitous Confederate sculptures that populate the United States, particularly in the South. Sitting astride a massive horse in a striking pose, Wiley’s young, African-American subject is dressed in urban streetwear.
Kehinde Wiley states, “The inspiration for Rumors of War is war—is an engagement with violence. Art and violence have for an eternity held a strong narrative grip with each other. Rumors of War attempts to use the language of equestrian portraiture to both embrace and subsume the fetishization of state violence. New York and Times Square in particular sit at the crossroads of human movement on a global scale. To have the Rumors of War sculpture presented in such a context lays bare the scope and scale of the project in its conceit to expose the beautiful and terrible potentiality of art to sculpt the language of domination.”
Standing as a statue to the violence afflicted against bodies every day, Wiley’s work presents a powerful visual repositioning of young black men in our public consciousness while directly engaging the national conversation around controversial monuments and their role in perpetuating incomplete narratives and contemporary inequities. In recent years, the discourse and actions around these monuments have included efforts to better contextualize them and have resulted in both the addition and removal of monuments in more than 30 states and New York City. Premiering Rumors of War in Times Square situates Wiley’s work at a global crossroads of civic engagement – where the black body of Wiley’s subject can become itself the battleground for evoking change and where the epicenter of Manhattan can become a space for citizens of the city, the country, and the world to come together to discuss the most important issues of our time.
Times Square Alliance President Tim Tompkins states “We are incredibly excited to be working with Wiley, one of the most celebrated and important artists of our time, and one uniquely equipped to challenge how we use our public space, to ask the critical question of “who matters?”, and to speak to the power of monuments to reflect and reinforce our values, and ultimately, reimagine our world. We are honored to be premiering this historic work, and to join the Virginia Museum of Fine Arts in supporting Wiley’s contribution to this important national conversation.”
The project originated when the artist encountered the equestrian monument to Confederate States Army general James Ewell Brown “J.E.B.” Stuart while visiting Richmond, Virginia for the opening of Kehinde Wiley: A New Republic at the VMFA in June 2016. A few blocks away from the museum is Monument Avenue, a nationally landmarked boulevard lined with Confederate statues, including monuments to Robert E. Lee, Jefferson Davis, and Stonewall Jackson. These monuments have a particular resonance because they function to continually commemorate the Confederacy.
The state of Virginia has more memorials to the Confederacy than any other state in the country. As with many Confederate monuments, erected in the aftermath of Reconstruction, their function was meant to not only memorialize the dead, but also to reestablish a social order. This also accounts for the relatively few monuments that recognize women and people of color, making the VMFA a powerful place to site Wiley’s historic work.
VMFA Director Alex Nyerges states, “The installation of Rumors of War at the Virginia Museum of Fine Arts later this year will be a historic moment for our museum and for the city of Richmond. We hope that the sculpture will encourage public engagement and civic discussion about who is memorialized in our nation and the significance of monuments in the context of American history. We are especially pleased that through the acquisition of this work, the monuments in Richmond will further reflect the incredible diversity of its population.”
Wiley’s career has focused on addressing and remedying the absence of black and brown men and women in our dominant visual, historical, and cultural narratives. Wiley’s subjects have ranged from street-cast individuals the artist encountered while traveling around the world to many of the most important and well-renowned African American figures of our generation, including The Notorious B.I.G., LL Cool J, Carrie Mae Weems, Nick Cave, and President Barack Obama.
In the early 2000s, the artist created a series of paintings entitled Rumors of War, which explored the iconography of wealth and warfare in historical paintings, drawing upon the visual language of glorification, heroism, and violence. True to his practice, these large-format paintings, inspired by the history of equestrian portraiture, anachronistically replaced the white, aristocratic subjects typical of the genre with young, African-American men in street clothes.
At that time, these works were developed out of a reaction to the Gulf War and the Iraq Conflict. Nearly two decades later, Wiley’s new public sculpture at once serves as an important reminder that violence continues every day on our streets while simultaneously offering an exquisite example of how to imagine and enact a more complete and inclusive American story.
Sean Kelly states, “Kehinde’s work has always sought to address the historical imbalance of the representation and depiction of the black body in art historical and cultural contexts. Rumors of War extends that investigation into the sculptural realm with his largest three-dimensional work to date. The work deals head-on with the history of racially divisive and provocative Confederate monuments which venerate the American Civil War.”
Arts & Entertainment
12th annual Richmond Bluegrass Jam set for April 22nd benefitting military veterans and families
The free, family-friendly event features 20 of the region’s best bluegrass and Americana bands playing on multiple stages for nine straight hours, all to raise money for military veterans and their families through two local organizations.
The Richmond Bluegrass Jam will return for its twelfth year on April 22, 2023, from 11:00 a.m. to 8:00 p.m., at American Legion Post 354, on the banks of the James River in Midlothian, Va. This is the second year the Jam is being held at the American Legion Post after a previous multi-year run at the Cultural Arts Center at Glen Allen.
The free, family-friendly event features 20 of the region’s best bluegrass and Americana bands playing on multiple stages for nine straight hours, all to raise money for military veterans and their families through two local organizations: the Richmond Fisher House, a home away from home for the families of veterans and active-duty soldiers recuperating at Richmond’s McGuire Veterans Medical Center; and Liberation Veteran Services, which provides housing and care for veterans in crisis.
Fans are strongly encouraged to make tax-deductible donations to the Richmond Fisher House and Liberation Veteran Services at the event or online at rvabluegrassjam.com. Over the past eleven years, the event has raised more than $204,000 for the families of military men and women.
The bands—all of which play at no charge in support of the Richmond Fisher House and Liberation Veteran Services—include Tara Mills Band, Cary Street Ramblers, Josh Grigsby and County Line, Cook County Bluegrass, Slack Family Bluegrass Band, and more.
The event also will feature local craft beverages and Richmond’s food trucks.
“We’re excited to bring the Richmond Bluegrass Jam back to American Legion Post 354 after a successful event last year,” says Tim Gundlach, president of RVA Bluegrass Jam, Inc., the event’s organizer. “This new location along the James River is not only inspiring, but also further connects the Jam with our military community. This year, we’re expanding our support of our military veterans and their families by raising money for both the Richmond Fisher House and Liberation Veteran Services. We’re proud to partner with these two extraordinary organizations.”
In addition to listening to the scheduled bands, attendees are encouraged to bring their own instruments. Several open jam areas will be available, as well as an instrument check station.
American Legion Post 354 is located in Midlothian, Va. Parking will be available at nearby James River High School, 3700 James River Rd., with free shuttles running throughout the day.
More information at rvabluegrassjam.com and on Facebook at facebook.com/rvabluegrassjam.
Arts & Entertainment
Husband-and-wife duo bringing new restaurant concept to former Mill on MacArthur space
The deal closed Monday for an undisclosed amount. Sperity Real Estate Ventures’ Nathan Hughes worked the deal.
From Richmond BizSense:
Barely a month after its closure, The Mill on MacArthur restaurant space in the Bellevue neighborhood is set to be reborn.
Husband-and-wife duo Rawleigh and Jaya Easley purchased The Mill’s lease at 4023 MacArthur Ave. and its equipment and are planning to open a new restaurant in its place called Neighbor.
The deal closed Monday for an undisclosed amount. Sperity Real Estate Ventures’ Nathan Hughes worked the deal.
Arts & Entertainment
Institute for Contemporary Art at VCU’s bevy of spring exhibitions run the gamut
An international group exhibition studying abstraction and a monumental new public artwork by Navine G. Dossos for ICA’s iconic facade kick off the 2023 spring season
The Institute for Contemporary Art at Virginia Commonwealth University (ICA at VCU) has announced its Spring 2023 season, featuring a group exhibition and corresponding public art installation, both organized by ICA Senior Curator and Director of Programs, Sarah Rifky, as well as hybrid performances as part of the Test Pattern series. Additionally, Misread Unread Read Reread Misread Unread Reread (MURRMUR), an ongoing research framework that opened in Fall 2022 with the self-publishing pavillion by Rafael Domenech, will continue through 2023 with further iterations and programs by artists and educators.
Installed across the ICA’s multiple galleries and spaces, So it appears, runs through July 16, 2023. The exhibition features nineteen artists from around the world whose works appear inscrutable at first glance—but upon closer examination, tangible, acutely urgent narratives begin to emerge. Grappling with the paradox of how to represent the unrepresentable, the collected artists have surfaced abstraction as a visual strategy—a tactic for encoding, encrypting, and indexing otherwise invisible realities and disasters, as well as speculative futures. Formal abstraction, color fields and conceptual minimalism act as repositories for stories of carcerality, injustice, enslavement, the invisibility of migrants, environmental racism, and sonic warfare, among other realities.
Though created at different times (from 2004 to the present) and in vastly disparate contexts across fourteen different countries, the works presented in So it appears reveal surprising affinities in their approaches, subtleties and associations. Seen together, they invite visitors to reflect on the interconnectedness of the manifold global crises.
Featured artists include Lawrence Abu Hamdan, Monira Al Qadiri, Alexander Apóstol, Navine G. Dossos, Torkwase Dyson, Basmah Felemban, Žilvinas Kempinas, Agnieszka Kurant, Dinh Q. Lê, Jeewi Lee, John Menick, Novo (Reynier Leyva Novo), Trevor Paglen, Walid Raad, Tomás Saraceno, Pak Sheung-Chuen, and Levester Williams. Tasmania-based artist Tricky Walsh and New York–based audio artist and producer Sharon Mashihi will also be in residence throughout the exhibition’s run and will produce new works to be presented on April 21st on the occasion of the ICA’s fifth anniversary.
Concurrently, artist Navine G. Dossos will present a public work, McLean (2023), on ICA at VCU’s iconic N. Belvidere facade, on view for one year, February 24, 2023 – January 7, 2024. For this visually spectacular work, the artist adapted one hundred gouache paintings she created between 2018 and 2020, each panel in response to a news article published in the wake of the heinous murder of journalist Jamal Khashoggi—a resident of McLean, Virginia—in October 2019.
Through this series, Dossos has developed a lexicon of symbols that stand in for the absent picturing of the case. The work is rendered in Dossos’ double take on Islamic and geometric arts, yet instead of lines and shapes, Dossos composes her intricate work through graphic icons, a representation of the narrative thread, encompassing multiple forms of technology, different individuals, nation-states, law enforcement agencies and human rights organizations. McLean is developed from Dossos’ project No Such Organization (2020) and which will be shown as part of So it appears.
Continuing from the 2022 Fall season is Misread Unread Read Re-read Misread Unread Re-read (MURRMUR), a ten-month curatorial framework and publishing program committed to expanding how we think about exhibitions and what it means to read, publish and distribute art, books and ideas. Developed in conversation with participating artists and educators, MURRMUR seeks to break down, massage, map and circulate information through experiments, improvisations and alternative curriculums. MURRMUR is organized by Senior Curator and Director of Programs, Sarah Rifky, and Assistant Curator of Commerce and Publications, Egbert Vongmalaithong.
MURRMUR presents two new programs in April 2023 and one new installation of research, references and a materials library designed by Sam Taylor in February 2023, organized by Egbert Vongmalaithong, ICA Assistant Curator of Commerce and Publications. On view February 24–July 16, 2023, in the ICA Shop + Cafe, Taylor’s installation provides objects that can be activated with a tap of your phone to reveal media and texts, providing insight on MURRMUR and the upcoming iterations.
One of the new programs is between a book and a soft place, a new commission by new media artist and design educator nicole killian. Designed as a playful learning environment, visitors are invited into this play-space to consider various ways for language to be carried out, embodied, and “queered”: we wear the language, we dance the language and we hold it in our hands. An intervention on the ICA’s 2nd floor, between a book and a soft place, can be considered a study on killian’s research questions around queering design education.
MURRMUR also presents SIT(UATION), a mutable seating and display system by artist Riley Hooker in collaboration with architect Nick Meehan. The project grows from a desire to center the body in the act of reading and the structure can be understood as plasmatic—resisting fixed linearity and promoting intellectual promiscuity. The design pulls from 1960s radical architecture, post-modern seating design a-la Peter Opsvik and Terje Ekstrøm, educational methods developed for neurodivergent students, embodiment and mindfulness practices, and anarchic political theories. The research and process behind these programs will be presented in February 2023 and on view from April 21–July 16, 2023.
In September 2022, MURRMUR opened with The Medium is the Massage, a new commission by artist Rafael Domenech. Visitors to The Medium is the Massage can become authors, readers, editors, and publishers when they enter this continuously transforming publication-pavilion. The living space turns the art gallery from a site of passive reception into a site of active production, right up until it closes on July 16, 2023, when the public will be invited to take the project’s remains out of the gallery and into their homes.
TEST PATTERN
Curated by ICA Assistant Curator and Producer David Riley, Test Pattern is a hybrid performance series inspired by the legacy of visionary public-access TV programs and alternative video movements in the US. The series invites artists to turn the ICA auditorium into an experimental production studio for week-long residencies, during which they collaborate with members of the local community to create a live performance and internet broadcast. Launched in March 2022, past Test Pattern performers include DeForrest Brown Jr., madison moore, SHAWNÉ MICHAELAIN HOLLOWAY, Moor Mother, jaamil olawale kosoko, Kinlaw and Dorian Wood.
Test Pattern returns to the ICA auditorium on Friday, April 7, with a performance by vocalist, composer, and performance artist Holland Andrews. Their work focuses on the abstraction of operatic and extended-technique voice to build cathartic and dissonant soundscapes. Andrews arranges music for voice, clarinet and electronics and frequently highlights themes surrounding vulnerability and healing. In addition to creating solo work, Andrews develops and performs soundscapes for dance, theater and film. Their work has toured nationally and internationally with artists such as Bill T. Jones, Dorothee Munyaneza, Will Rawls and poet Demian Dinéyazhi.
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Institute for Contemporary Art at VCU’s bevy of spring exhibitions run the gamut
