This edition, named after Franconia Notch, a glaciated valley in New Hampshire, is inspired by glaciers, their movement through time, their sound, and their disappearance.  I imagined the glacier’s relation to time and matter and the sound it makes as it drifts, shifting granite over hundreds of years.  I thought about the way it changes the terrain, our disconnect from nature and its representation in the media, the simulated worlds that are replacing the natural, and the threat human greed poses to our Natural Parks. 

The full edition consists of 12 sound installation sets in weatherproof cases, each containing all of the necessary components to install, deinstall, and preserve the work, as well as a usb drive with installation instructions and a video of the work installed properly.

The granite stone, sourced from a quarry in Franconia Notch, modulates the vibrating bass piano string attached to the wall, creating a looped one minute long drone sound, followed by a short pause. The intention is to be present with the sound but not to be lost in it. 


- Luba Drozd

“The Return” is a hybrid puppet show and group art exhibition, with eight performances that took place at CPM Gallery between September 17-25.

In The Return, a woman relives her near-death experience in an effort to cope with her past and remember what she learned on the other side. This exploration of what it means to live significantly is examined through a multi-artist collaboration of marionette puppetry, sculpture, painting projection, and sound installation, to consider what contemplating death within a culture prone to death-denial can teach us.

The idea to do a puppet show at CPM arose at the beginning of covid in mid-2020, when much of our lives were controlled by fear, uncertainty, and the state. For many people, the novelty of being home alone for long periods, unsure about their future, became a heightened experience of being precariously close to death. Covid created a communal near-death experience (NDE), where people from different walks of life all around the world may have gone through a similar process of vacillating between existential crisis and revelation. This show is about returning into our lives with a new sense of purpose and clarity that can only come out of an extended meditation on the simultaneity of being both alive and near-death. In The Return the gallery, the home, the artwork, and the mind become a theatre in which the known and the unknown weave together into stories that give us purpose.

The script for The Return was written with these ideas in mind, and references real stories of individual NDE experiences and what people have claimed to see and feel on the other side of life, before being returned to their bodies. In The Return it is never stated explicitly what the NDE event is—the protagonist addresses the audience with an existential exploration of meaning in her life, now that she has been given a second chance.

The show includes two marionette performers and five contemporary artists, who have made works that respond to and engage with the five acts of the play:

Mark Fox – Producer of “The Return”, marionette and set design

Megan Murtha – Writer of “The Return” Script and Director of performance

Zoë Geltman – Lead marionette performer

Emma Wiseman – Marionette performer

Andrew Brehm – Sculpture

Luba Drozd – Sound installation

Florencia Escudero – Hanging sculpture

Meredith James – Ceramic sculptures

Reid Ramirez – Slide paintings and projections

CPM is pleased to announce a curated series of chess events at the NADA Art Fair in New York City on May 5th and May 8th.

The events have been brought to the fair through CPM’s partnership with Play Magnus Group, a chess elearning and entertainment company founded by World Chess Champion Magnus Carlsen.

Day 1:

Chess in the Schools Tournament - 24 kids, 6 rounds, 5 minute games

Artist Peter LaBier will MC the event, engaging with the players and audience

Day 2:

Simultaneous matches between visitors of the fair and Grandmaster Pascal Charbonneau and International Master Dmitri Shneider.

Contributors:

Play Magnus was founded in 2013 by World Chess Champion, Magnus Carlsen, with the goal of making the world a smarter place through chess. Play Magnus Group is an ecosystem of innovative digital brands and services focused on delivering the best elearning and entertainment experiences for chess fans around the world. Through its leading brands, such as Chessable, chess24 and Champions Chess Tour, the Play Magnus Group covers key areas of chess including play, watch, study, learn, coach and compete.

Chess in the Schools (CIS) is a non-profit organization that fosters the intellectual and social development of low-income New York City youth through chess education. To date, the program has taught more than 500,000 of New York City's most underserved children, inspiring them to greater achievement. All CIS programs are free of charge to all participants.

Peter LaBier is an interdisciplinary artist working in drawing, painting, music and performance. He received his B.A. from Vassar College in 2003 and his M.F.A. from Columbia University in 2017. His work has been exhibited throughout the United States, and internationally in Berlin and Hamburg. His most recent solo show, A Shot May Be Made, is currently on view at Stolat gallery in Brooklyn.

CPM is pleased to announce an exhibition of new works by Irina Rozovsky entitled Traditions Highway. This is the artist’s first solo show with the gallery.

This exhibition consists of 16 photographs made between 2015-2021, a group of collected vernacular landscape paintings, and a text piece created by Rozovsky in 2021 while driving on Route 15, a Georgia state road known as Traditions Highway.

Traditions Highway, stretches from north to south the entire length of Georgia, passing through Sparta and Athens, named after ancient Greek cities that gave birth to the concept of Democracy 2,500 years ago. To transplant these names onto the comparatively recent project of American Democracy, and the complex histories of the American South, inevitably draws a line between the origin of our political system and its current local iterations. The works in this exhibition are a first person window into our evolving experience of the American promise, and an arena in which the ideal can coexist with everyday individual realities.

Rozovsky’s photographs express how layers of past and present coalesce upon people, places, and objects—a discarded heart-shaped horse carriage abandoned in the woods, a hazy junkyard and the reflection in a rear view mirror, or a young girl standing next to a flooded forest, equalize moments of the mundane and the sublime. The photographs, printed at various sizes, also depict a tension between the natural and built environment, where the forms inherent to one mode begin to encroach upon the other. These images will be interspersed with a group of vernacular paintings collected by Rozovsky, depicting romantic rural vistas and picturesque landscapes.

Traditions Highway passes through old, forgotten towns. Rozovsky, who lives in Athens, Georgia, drove along this road, annotating any and all signage visible from the road—local political and commercial slogans, church marquees, traffic signs, and the chatter heard on local radio stations. These notes were then compiled as an automatic poem, printed in large scale, and wheatpasted onto the central wall of the gallery—an excerpt reads:

do not pass / pass with care / the key to heaven was hung on a nail / promises made promises kept

Bio:

Irina Rozovsky (born Russia,1981) makes photographs of people and places, transforming external landscapes into interior states. She has published three monographs: In Plain Air (MACK 2021), Island in my Mind (Verlag Kettler 2015), and One to Nothing (Kehrer Verglag 2011). Her work is in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, High Museum of Art, Philadelphia Museum of Art, and others. Irina lives in Athens, Georgia where she and her husband Mark Steinmetz run the photography space The Humid. She currently teaches in Hartford University’s MFA photography program.

Recent Press and Publications:

Time Magazine - 20 Best Books of 2021
MoMA Magazine - MoMA “New Photography 2020”
The Guardian - The World in One Park
Aperture- Irina Rozovsky’s Majestic Photographs of Prospect Park
Creative Review UK - In Plain Air
Musée Magazine - Book Review
C4 Journal - In Plain Air
Brownstoner
Fotoroom - “Island in my Mind” - Cuba as Seen by Irina Rozovsky
The Literate Lens
New York Times - An Exhibition Worth Thousands of Words

COBRA
Miho Dohi
Ken Kagami
Aiko Hachisuka
Naotaka Hiro
Akira Ikezoe
E’wao Kagoshima
Soshiro Matsubara
Trevor Shimizu
Yui Yaegashi

*

Organized by Kathryn Brennan & Titled by COBRA

Presented at CPM Baltimore & Rachel Uffner Gallery, New York

Every culture has its version of the ideal body—a place where aesthetics and politics merge and the power of a place can be expressed symbolically. Muscle Definition is a group exhibition that brings together a selection of paintings, sculptures, photographs, and works on paper, that present a spectrum of visions and attitudes about the body and its representation.

Participating artists include: Richard Baker, Stephanie Barber, Janet Bruhn, G.G. Derviz, Graham Durward, Jillian Dy, Bernard Gilardi, Clarity Haynes, Melissa Hopson, Anthony Iacono, E’wao Kagoshima, Mike Linskie, Clifford Owens, Michael Pellew, Ada Pinkston, Genesis P-Orridge, Irina Rozovsky, Vlad Smolkin, Jennifer Sullivan, Henry Taylor, Noi Volkov, Eric Wesley.

There will also be a selection of historical works, including: an engraving from Buffon’s “Histoire Naturelle” (1778), an 18th Century Italian ink drawing, a Russian chromo-lithographic war cartoon (1914), a Tibetan Medical Thangka painting (mid 20th c), and a signed gelatin silver print of Cal Ripken Jr. (1980’s).

Muscles are elastic string-like fibers, holding the body together. To build muscles, we tear them with purpose so the strings grow back bigger and stronger. It takes around 43 muscles to smile and 17 muscles to cry. Some muscles can be seen from a distance, while others are subtle and hidden.

The impulse for this exhibition arrived when the world went into lockdown at the beginning of the pandemic. Over this period of isolation, there has been a strong sense both of our innate need for contact, and the capacity of government to control and manage that need. As this mass loneliness thaws, bodies become powerful magnets for other bodies and there is acuteness to how we embrace and interact with each other.

The heart’s muscles circulate blood through the body with pristine regularity. As we slowly step back into the public sphere, perhaps a greater awareness and embrace of our natural rhythms can inspire a new and healthier relationship to the body, and in the ways we represent and impose power on and through the body.

Curated by Max Warsh

Over the course of the past year, the expansion and contraction of time has become routine. The ubiquitous questions of “what day is it?” or “I can’t believe it’s already Friday!” arise from the slow, monotonous drone of the day-to-day, blanketing our lives with a sense of dislocation I can only compare to the experience of living in Los Angeles where the sun always shines and memories morph into atmospheric conditions. At the same time society has regressed and accelerated at an exponential pace causing a numbing effect—we know we are living through a historic moment, yet each day is perhaps more historic than the previous one, leaving past days in the dust. 

What if time travel is not the ability to move through time, rather just a repositioning of the perception of time so that notions of linear time collapse into a cacophonous field of collected moments that can be accessed at any time? What if any moment can be accessed through a material object, whether a book, drawing, or sculpture akin to a token that many time-travel scenarios provide for the traveller to locate themselves across the continuum? It is in response to these questions and states of being where the artists and artworks in this exhibition come together at this moment, as they look at the material world through its perceptual and temporal potential; and it is through the lens of this past year that we can view these artworks as openings to new pathways for comprehending time.  

As the newspaper, "The Bellona Times,” in Samuel R. Delany’s epic science fiction novel Dhalgren, prints erratic dates jumping from April 1, 1979 to July 17, 1969 to October 24, 1985, the reader must ask if this is in fact a leap in time within the arc of the story, or do these dates mark the irrelevance of linear time within the hallucinatory post-apocalypse narrative. In this latter reading, Delany positions time as a mood in a way that also mirrors the current moment, and further sets the framework for considering the works in this exhibition.

Fabienne Lasserre’s hanging/standing orbs, discs, ovals, and shards glide along gradients of opacity/transparency, visibility/invisibility and dimensionality. They invite, absorb and reflect both light and vision as they and we are in perpetual motion together. They are bodies standing in for doorways and windows, slivers of hand-made architecture for a compounding present and speculative future. Lasserre’s sculptures are access points demarcating momentary shifts in perception while also carving out space for new ways of seeing.

The aggregation of material and time find a home in Yamini Nayar’s photographs. Each image contains a site constructed through building forms of plaster, paper wood, paint and/or other materials. Allowing the accumulation of material to metamorphose into elegantly precarious structures, Nayar decides when to flatten and capture the image into the paper of the photograph. Each photograph holds multitudes of moments and actions, in some cases multiple exposures, they contain and unravel time; they are composite storyboards, monuments to the unconscious impulse to build and shelter.

Flowers become fabric, words become flowers, words become vessels, flowers become architecture. Rosemary Mayer’s drawings of flower forms, tulip petals, carnivorous plants and still lifes embody the duality contained in her acute observation over days in the studio coupled with the magnitude of a classical history that has studied such forms for hundreds of years. Forever committed as a diarist and journaler of the day-to-day, Mayer’s attention to the moment-to-moment shifts in light, vibrancy and decay in her subjects reflect broader tendencies in Mayer’s work to look at the arch of history in relation to her personal lived experience as an artist in her time.

 -Max Warsh

“Exuberance of gilded stucco, ingenious, intricate, vaulting altars bursting with angels and light over plaster clouds spilling out like the branding curving stucco racing in countless gilded trails, coursing near the ceiling, unfolding in limitless variety”

  -excerpt from text in Rosemary Mayer’s drawing Untitled, (part of the pinning down of flowers), 1975

Artist Bios

Fabienne Lasserre (b.1973), a John Simon Guggenheim Fellowship recipient in 2019, grew up in Montreal, Canada and received her MFA from Columbia University. Lasserre's current solo show, Eye Contact, is on view at TURN Gallery until April 24, 2021 and her work is currently on view at the Tang Museum in a rotating exhibition in Nicole Cherubini’s installation. Her most recent solo exhibitions were held at Hallwalls Contemporary Arts Center, Buffalo, NY; Parisian Laundry Gallery, Montreal; and Palazzo Costa Tretenerro, Piacenza, Italy. Two person exhibits include Safe Gallery, New York with Annette Wehrhahn and 315 Gallery, New York with Ezra Tessler. Lasserre has participated in numerous group exhibitions including (upcoming) CPM, Baltimore, MD; Ceysson de Bénétière, Luxembourg; TURN Gallery, New York; Contemporary Arts Museum Houston, TX; Museo de Antioquia, Medellin, Colombia, and Musée d’art contemporain de Montréal. In 2017, she was awarded the Saint-Gaudens Memorial Fellowship to produce two outdoor sculptures for the grounds of the park. In 2016-17, she received a Sharpe-Walentas Studio Program award. She is Co-director of the graduate program MFA in Studio Arts (MFAST) at MICA in Baltimore. Lasserre currently lives and works in Brooklyn.

Yamini Nayar ( b.1975) has shown her work internationally at venues including the Museum of Moderne Kunst Frankfurt, Freud Museum London, Yerba Buena Center for the Arts, Queensland Art Gallery in Australia, DeCordova Museum MA, Kiran Nadar Museum New Delhi, Sharjah Biennial in UAE, Saatchi Gallery UK, Studio Museum of Harlem and recently a presentation at Serendipity Arts Festival, Goa, India. Her work is in many public and private collections including the Solomon Guggenheim Museum NY, Kiran Nadar Museum, Saatchi Museum, Queensland Art Gallery, Cincinnati Art Museum, Hiscox and US Arts in Embassies, JP Morgan Chase. Her work is published in Global Photography: A Critical History (2019), Chandigarh is in India (Shoestring Publishers, 2016), Passages: Indian Art Today (Daab Media, 2014), Lines of Control, Partition as a Productive Space (Green Cardamom 2012), Unfixed: Postcolonial Photography in Contemporary Art (Jap Sam Books, 2013); Empire Strikes Back: Contemporary Indian Art Today (Saatchi) and Manual for Treason: Sharjah Biennial (2011). She has been featured in New York Times, New Yorker, Art India, Artforum, Art in America, Frieze, Vogue India, Artpapers, and others. Nayar is a recipient of the Lightborne Fellowship, Aaron Siskind Fellowship at SVA and an Art Matters Foundation travel grant (to Chandigarh, India). She received her MFA from the School of Visual Arts, NY where she studied with Sarah Charlesworth, and BFA from the Rhode Island School of Design, with prior studies in philosophy and psychology at Eugene Lang College, NY.and University of Michigan. Nayar's work is represented by Thomas Erben New York, Wendi Norris San Francisco and Jhaveri Contemporary Mumbai. Yamini Nayar is based in Brooklyn, NY.

Rosemary Mayer (1943-2014) was a prolific artist involved in the New York art scene beginning in the late 1960s. Most well-known for her large-scale sculptures using fabric as the primary material, she also created works on paper, artist books, and outdoor installations, exploring themes of temporality, history, and biography. A pioneer of the feminist art movement, she was a founding member of A.I.R. Gallery, the first cooperative gallery for women in the U.S. and had one of the earliest shows there. During the 1970s and 1980s, her work was also shown at many New York alternative art spaces, including The Clocktower, Sculpture Center, and Franklin Furnace, and in university galleries throughout the country. In 2016, Southfirst Gallery in Brooklyn exhibited a selection of Mayer’s work from the late 1960s and early 1970s. The first major exhibit of her work in over thirty years, it was reviewed in The New York Times, Art in America, The New Yorker, and artforum.com. A version of this show was exhibited at the Lamar Dodd School of Art at the University of Georgia in 2017. Her work has also been included in several group exhibitions in New York including at Nicelle Beauchene Gallery, Murray Guy Gallery, and Bridget Donahue. In 2020, her work was introduced to European audiences through Nick Mauss’s exhibition, “Bizarre Silks, Private Imaginings and Narrative Facts, etc.,” at Kunsthalle Basel and “Rods Bent Into Bows,” at Chert Lüdde in Berlin. The show in Berlin was Mayer’s first solo show in Europe; it won the prestigious VBKI Prize for Berlin galleries and included in Frieze magazine’s list of the best shows in Europe. Exhibitions upcoming in 2021 include a solo show at Gordon Robichaux and the Swiss Institute in New York.

Max Warsh (b. 1980) is an artist and curator who lives and works in New York City. He received his MFA in Photography from the University of Illinois at Chicago in 2004, and his BA from Sarah Lawrence College in 2002. He is Co-director of the Estate of Rosemary Mayer, and the Director of Programming for the New Art Dealers Alliance (NADA). From 2010-2017, he was co-founder and director of the artist-run gallery Regina Rex (NY), where he organized numerous exhibitions. His artwork has been included in exhibitions at the Queens Museum, the Brooklyn Academy of Music (BAM), the Eduardo Sívori Museum in Buenos Aires, AR and the Sirius Arts Centre in Cobh, Ireland; and galleries such as CPM, The Pit, Longhouse Projects, New Captial, Shoot the Lobster and others.

CPM is pleased to announce the second exhibition at its new Baltimore location: Figure Study - Drypoint Prints by Louise Bourgeois and Pooneh Maghazehe.

This presentation marks the inaugural project of CPM Editions—the publication of a suite of four drypoint prints by Pooneh Maghazehe, exhibited in conversation with four drypoint prints by Louise Bourgeois from 1993-2000.

The pairing of these two artists is presented as a dialogue between two approaches to figuration, taking place on a common material ground—a case study about how the depiction of the body and the concept of figuration has been expressed in different eras, cultures, and aesthetic traditions. This show is also about how the notion of the multiple informs the way we see and process the figure. Equally, this is a study of the historical figure of the artist and how discourse about and between artists evolves.

The four Louise Bourgeois (b.1911- d. 2010) prints chosen for this show depict the body in various states of pain. The titles: Dismemberment, Arched Figure, Head on Fire, and Hanging Figure all describe violence or mutilation imposed upon the body. The figures are laid bare, presented succinctly on a stark, vacant background. The overt imaging of external physical trauma in these works functions as a gateway into an internal, non-physical condition, into memory and the subconscious—a territory often explored by Bourgeois throughout her career.

In Maghazehe’s prints the figure also sits at the boundary between physical and psychological space, but the bodies exist more as an absence than a presence; a starting point from which a complex process of encryption and erasure unfolds. The initial steps in the making of these works involved applying a vinyl stencil of the artist’s enlarged figure drawings to the surface of the copper plates, sanding the entirety of the negative space, and dissolving the vinyl stencil, leaving its ghost image unmarked. The imagery comes out of a memory that has fueled much of Maghazehe’s sculptural works in recent years—a visit to Miami beach in the summer of 2014, in which she observed two identical twin girls carefully measuring and sharing sips of a diet coke, passing the bottle back and forth, then throwing it out, still mostly full. Elements of this story float within the pictorial landscape and are abstracted by ornamental marks and patterns that allude to a range of ideas, from Islamic Architecture and textiles, to Euclidean Geometry.

A special thanks to the Louise Bourgeois Trust and Peter Blum Edition as well as Catherine Stack and the Robert Blackburn Printmaking Workshop, for helping make this exhibition possible.

Pooneh Maghazehe (b. 1979) lives and works between New York and Pennsylvania. She received her Master of Fine Arts from Columbia University in 2011 and her Master of Science in Interior Architecture from Pratt Institute in 2005. Recent solo exhibitions include 2for1 at Brennan & Griffin Gallery NY, New York Resort, Split Double Zero at Resort, Baltimore MD, and Double Zero -0%0%0%0%0% at 17 Essex, New York, NY. Select group exhibitions “Isolation is the Mother of Invention” at Kathryn Brennan Gallery, NY, New York, “even grass gets lonely” at darkZone, Madison, NJ, Don't trust me, I'm homeless, curated by K.O. Nnamdie of Restaurant Projects, Ed. Varie, NY, New York, The Pit Presents Step Sister at The Pit, Los Angeles, CA, Naotaka Hiro, Pooneh Maghazehe, Robin Peck, Eric Wesley at Stepsister, NY, New York, Without God or Governance, Marinaro Gallery, NY, New York, and Momentarily, Columbus Property Management, NY, New York.

CPM is pleased to announce the opening of its new gallery space in Baltimore, Maryland with an exhibition of new works by Clifford Owens, titled Skully. CPM was created by the artist and gallerist Vlad Smolkin in 2018 as an exhibition space in Chinatown, NYC. We are honored to start this next stage of programming with Clifford Owens, whose first show with CPM will mark a kind of homecoming for both him and Smolkin, who each grew up in Baltimore. There will be an opening reception on Saturday, November 7, from 11am - 8pm at 1512 Bolton St, Baltimore, MD 21217. (* Due to safety concerns, the show will be scheduled by appointment only throughout the day. To schedule an appointment please email: info@cpmprogram.com

Skully is a children’s street game played on the asphalt and sidewalks of American cities, popular between the 1950s - 1980’s. The skully board is a 6ft by 6ft square drawn in chalk on the street, with 12 smaller boxes drawn along the perimeter and a 13th box (the “skull”) drawn in the center of the board. The game pieces are made with bottle caps, typically filled with tar or wax to weigh them down for easy gliding on the street. The objective is to flick your cap to all of the number squares in sequence and ending up in the “skull”, while also striking your opponents caps off of the field of play. Each player took great pride in the fashioning and retooling of their pieces—the weight, the color, the choice of caps, and the materials sourced to weigh them down.

In this exhibition, Owens uses his own recollections of this game, which he played as a child on the corner of Sanford Place and Division Street in Baltimore, as a source and framework for the performance and execution of a new suite of approximately 30 works on paper. In the Skully suite, Owens starts by creating his own game pieces, jamming a mound of graphite putty into milk bottle caps, and using them as mark making devices that slide across the surface of the 30 x 20 inch sheets of paper. When the action drawing is complete, the bottle caps themselves are adhered to the surface of the paper.

When playing skully, the city creates the conditions and context for the game. By removing the game from the street to the studio, Owens heightens and complicates notions of condition, agency, and circumstance. In these works there is a different kind of game being played—between confirming and confronting modernist aesthetics. These drawings are alluding to the material and process driven investigations of mid 20th century formalism, while at the same time using specific socio-political referents as a foundation and driving force behind the abstract language being explored.

The exhibition will also have a series of photogram pieces. In these works, Owens reaches into a pouch containing unexposed photo paper with his hand holding a small flashlight, making movements across the paper, and feeling but not seeing the surface that will ultimately record the punctures, creases, and gestures of the light. Owens then hand prints and develops the individual sheets in a darkroom. The resulting ghostly images show glimpses of the artist’s hand as if dipping in and out of a pool of water or through a cloud.

There will be one new sculptural work in the show titled A Dollar Short, in which a roll of 49 dollar-bills are each individually gold leafed and bound together. This piece also uses Owens’ childhood in Baltimore as a source; alluding to a memory of covering a wad of one-dollar bills with a larger denomination. The use of gold leaf in this case further complicates the relationships between perception and value. Owens’ hand is present in all of the works in this show, as a character, a performer, and a means to an end. In each case, there is a balancing between giving up and taking control—between will and circumstance.

Clifford Owens (b. 1971, Baltimore, MD) received a BFA from the School of Art Institute of Chicago (1998), an MFA from Rutgers University (2000), and completed the Whitney Independent Study Program (2001). Owens makes photographs, videos, performances, paper-works, installations, and texts. Solo museum exhibitions include: “Anthology” at the Museum of Modern Art PS1, “Better the Rebel You Know” at Home in Manchester, England, and “Perspectives 173: Clifford Owens” at the Contemporary Arts Museum Houston. “Radical Presence: Black Performance in Contemporary Art,” “Greater New York 2005,” “Freestyle,” and “Performance Now: The First Decade of the New Century.” His on-going, performance-based projects have been widely presented in museums and galleries, including the Museum of Modern Art, Baltimore Museum of Art, and Brooklyn Academy of Music. Owens was awarded a Guggenheim Fellowship in 2020. Public collections include the Baltimore Museum of Art, Museum of Modern Art, NY, and the Studio Museum in Harlem, NY.