Alumni Spotlight: André Onofre Limírio Chaves

André posing in front of the Brooklyn Bridge, leaning against a barrier with his left arm and holding his right hand in the air, showing excitement.

We love catching up with our wonderful J-1 exchange visitors and hearing about how their programs impacted their lives and careers. Today, we are excited to share our J-1 scholar, André’s, experience. André is a Doctoral student in Science and Culture in History at the Federal University of Minas Gerais, in Brazil. With plenty of passion and experience in the museum and cultural spaces, Andre landed himself a very exciting curatorial internship at The Frick Collection in the spring of 2023.

What were some projects you worked on during your time at The Frick?
My main task was to organize the documentation and published material on the Spanish painting collection. My supervisor was putting together a new catalog about these paintings so I had the opportunity to study and research the works of Francisco Goya and El Greco. I carried out research in institution’s archive and also in the Frick Art Reference Library. I was able to organize and research documents and bibliographical materials for four paintings.

Were you able to visit other cultural institutions around New York?
I had the opportunity to visit the best museums and galleries in New York. I visited Neue Galerie, The Met, Jewish Museum, Guggenheim, Sotheby’s, TEFAF, Brooklyn Museum, Whitney Museum, Natural History Museum, New York Historical Society, Spanish Society, MoMa, and Morgan Library. My first time walking at the Central Park, seeing The Met and other museums was so important for me, so special. My favorite part of The Met is the American Wing, as I got to see how American art has developed from the colonial period to the present day.

 

André posing in front of the Brooklyn Bridge, leaning against a barrier with his left arm and holding his right hand in the air, showing excitement.
Andre standing between two Egyptian statues.

Do you have a favorite moment or experience from your program?
My favorite moments were when I went to Sotheby’s auction house and the TEFAF Art Fair, where I could understand how the art market in NY is, the role of researchers in this process, and being able to see incredible works of art. My second favorite moment was my visit to the exhibition “Juan de Pareja Afro Hispanic Painter” at the Metropolitan Museum of Art, where the entire curatorial and educational team had a guided tour with the curator of the exhibition. In such a way, I was able to understand the concept of the exhibition from the beginning to the end, observing the role of the curators in the creation of the exhibitions.

What is one of the most exciting things you learned?
I had the opportunity to learn from the best curators in the USA, who gave me tips on how to organize an art exhibition, how to describe the objects, how to read a painting in order to understand the compositions, the state of conservation, and also the artists’ intentions. I learned a lot with The Frick’s curators. For me, who lives in a country with few museums of European art, it was an enriching and unique experience, as it is a way of understanding art beyond the academic world.

 

André looking at a painting.

Since the end of his program almost one year ago, André is back in his home country of Brazil, in Belo Horizonte. He is in the last few months of his PhD while also working as a document historian at the Minas Gerais Court Archive. At 7 years old, the archive is relatively new.

He is using his experience and new knowledge from his internship to create catalogues, videos, articles, and social media posts to publicize their archive and share them with the public.

“A lot of important documents from 18th, 19th, and 20th centuries were lost because of improper care or bad conditions or simply being thrown away. Professionals decided to create a space to preserve and organize these documents. It’s important to show Brazilians and international researchers the importance of these documents and why they should be saved because they hold an important piece of Brazilian history.”

Thank you for talking with us, André! We loved hearing about the important work you are doing to preserve and share history through art.

Want to share your story with us? Send us an email to get started!

Alumni Spotlight: Sahil Yadav

Summer 2023 was a busy one for CEP but we are back with an alumni update! (By the way, from May to September, we had over sixty exchange visitors come to the U.S. to start their programs! Wow!)

Alright, now on to the blog: today we are excited to introduce Sahil Yadav, an animator and digital artist from India, who completed his J-1 scholar program as an Artist in Residence at the Experimentally Structured Museum of Art (ESMoA). ESMoA serves as an experimental artistic center in the South Bay and greater Los Angeles areas, encouraging locals to reimagine what art programming and art spaces can look like.

Even though Sahil’s program was only two months long, he was able to participate in plenty of events and activities. He taught three “Just Draw 2-D Effects” workshops and led three animation classes at a local middle school. At the end of his residency, ESMoA held an open studio showcase to share all the work he created throughout the residency.

Keep scrolling to find out more about Sahil’s wonderful experience in LA, as he explored animation in the birthplace of Hollywood.

Can you tell us about some of the activities and responsibilities you had during your program?

During my stay [at ESMoA], I conducted a number of events which included:

  • Three “Just Draw” Sessions where l taught the participants about 2DFX sketches from basic to intermediate level and worked out water 2DFX animations.
  • Three classes for the students of El Segundo Middle School. We discussed what is animation, what are its types, and how we make one. They worked out their water drop flipbook animation which was followed by a little animation of their own.
  • An open studio event, where I presented my learnings, journey, and an exclusive animation made for the organization.

Sounds fascinating! How did the residency influence your communication skills as an artist?

My communication skills have been greatly influenced in a positive manner. Being able to communicate is a major milestone for an artist whether it is through art or vocal form. I learned how to break down things that are easily digestible for a participant or a viewer. Along with the enhancement in my teaching skills, I learned about American culture and art and that has greatly affected my broad view and understanding.

What did you learn about American culture, design, and arts?

American culture is vast and influential. I was exposed to animation studios, original art pieces, by specifically Disney. It presented me with how they were motivated to bring the animation wave, even with restricted resources. My visit to museums exposed me to beautifully crafted storyboards and character designs. I learned about how to bring character into an inanimate object just by manipulating flow and volume. I felt motivated and moved by my visit to the Academy Museum.

Sahil also kept busy by visiting lots of museums and cultural organizations with his peers and new friends! Eva Sweeney, Co-Founder and Director of ESMoA and Sahil’s supervisor, said: 

Each week was filled with visits to different cultural art and science institutions, including LACMA, The Academy Museum, The Natural History Museum, and The Science Center, and the Long Beach Aquarium. We even had the pleasure of taking him with our team to Frieze LA, where he got to see exhibitions from LA’s top arts galleries. Sometimes he would attend these cultural activities by himself or with our staff, while other times he would make friends from his “Just Draw” sessions, who would take him to art openings around the greater LA area.

Any last thoughts you’d like to share?

My supervisor and colleagues were immensely helpful during my stay and in the execution of assignments. They were able to guide me and help me clear my thoughts to take an idea from raw form to the final presentation. They helped me by providing all the necessary resources and conducting the teaching sessions smoothly. My host environment was the best experience for me. They were really helpful and provided more than needed. I am happy that I got to know them.

Thank you Sahil and ESMoA! 

Want to share your own J-1 experience with us? We'd love to hear from you! Reach out to us here.

When Science Meets Art: Conserving Asian Paintings with Yu-Ting

Tucked away between the busy streets of Washington D.C. is the small but mighty Nishio Conservation Studio. This studio, which was been comfortably operating in their custom-made lofted space since 1995, combines aspects of traditional Japanese craftsmanship with modern Western science to provide the highest quality conservation work for their clients. Focusing primarily on conserving Asian paintings, folding screens (called byōbu), and hanging scrolls (called kakemono), the artists at Nishio’s Studio bring these artworks back to life with the utmost care and vibrancy.

Yu-Ting Hsu is a student at the Graduate Institute of Conservation of Cultural Relic and Museology at Tainan National University of Arts in Taiwan. Her specialization is in Conservation of Paper and Asian Paintings, making Nishio’s studio the perfect place for her J-1 visa program. During her internship, she learned how to approach conservation in a professional setting and how to examine and prepare paintings for treatment by making starch paste, cutting papers, and cleaning brushes. For her final project, she even made her own Japanese style scroll! When Yu-Ting was not on site at Nishio’s, she explored hiking trails in Virginia and visited the many free museums that D.C. has to offer.

Before the end of the program, the Cultural Exchange Programs team was able to visit with Yu-Ting at Nishio’s for a full day of conservation education. Did you know that in order to achieve rich blue and green colors on byōbu, artists would use crushed azurite and malachite? Now you do! Scroll on to see what else Yu-Ting shared with us.

What was a project you enjoyed working on during your program?
There is a four-panel screen from Utah Museum of Fine Arts (UMFA). The artist is Chiura Obata. The object was in poor condition. The screen had spilt into two sections. Overall discoloration was present in the paper and foxing spots* were present throughout the panels. I took part in the whole process of conservation of the four-panel screen. We started with removing the painting from wooden border, then removing backing paper. After consolidating the color, we bleached the foxing spots and washed the painting. In the mid-October, conservators and curators from the UMFA visited studio to check the four-panel screen. They were satisfied with the after-treatment condition!

*Foxing spots are brown and rust colored spots that appear on old paper. If the paper has a certain level of iron or other substances present in it, exposure to a specific temperature and humidity will create the foxing.

What was an interesting new skill you learned on the job?
My host taught me how to make a Japanese hanging scroll. I learned a lot of Japanese mounting knowledge from the panel screen and Japanese hanging scroll, which I don’t have opportunities to learn in Taiwan. For example, the fiber of Japanese paper is longer than Chinese paper, so there are different ways in backing the paper for mounting.

What did you learn about the arts culture in America? What was your favorite cultural activity?
I had visited a lot museum, like National Gallery of Arts, Freer Gallery of Arts, and The Kreeger Museum. I saw collections that I had not seen it before. My host had arranged for me to visit the conservation lab at the Museum of Fine Arts, Boston, and The Metropolitan Museum of Art. Those experiences helped me to get more information not only conservation cases but also the network.

The most impressive [activity] was the concert at the Martin Luther King Jr. Memorial Library. My host is involved in a band and he invited me to the performance. My favorite song in the concert was “Moon River”. I really enjoyed it!

 

 

Want to learn more about byōbu? Check out this video on the history of Japanese folding screens, directly from Nishio's Studio!

Alumni Spotlight: Amy Bruning

Welcome to our first alumni spotlight of 2023! We are thrilled to feature J-1 research scholar, Amy Bruning, from Scotland. Amy is a mixed media artist who currently lives in Finland where she is pursuing her Master’s degree in animation. From August 2021 until May 2022, she participated in an Artists-in-Residency (AIR) program at Munson-Williams-Proctor Arts Institute (MWPAI) and within the PrattMWP College of Art and Design Program, which was a “truly life changing” experience for her!

Amy’s residency was nothing short of productive. Throughout the 9-month program, she planned and taught community art classes to adults and kids, and facilitated projects for the museum’s Art Alive projects. She also taught two Light, Color, and Design courses to university students as part of the College of Art and Design program. Most excitingly, Amy was able to create works for her own exhibition, Days of Healing, which explored the journey of healing from grief and trauma through the various stages of coping with loss.

Can you tell us what you have been doing since finishing your exchange program?
I am pursuing my Master’s with the Re:Anima: European Joint Master in Animation program.  It’s a collaboration between three universities, LUCA School in Belgium, Aalto University in Finland, and Universidade Lusófona in Portugal I am working on a research dossier for an expanded animation installation that I will be working on over the next two years. I recently put together an exhibition of animated projections and animated paintings, which was as part of the research and I will be taking this work further in May of this year during an artist residency in Italy.

Looking back, what are your thoughts about your exchange program?
I had a really amazing time on my exchange. It set me on a new career path and helped me to pursue what I truly wanted to do. Working as a community art instructor, as well as an adjunct professor at PrattMWP in Utica, New York, an extension campus of Pratt Institute in Brooklyn, allowed me to rediscover my love of teaching.  I would like to pursue a teaching career in higher education when I finish my Master’s.

How did your experience contribute to your career outside the U.S. and in your home country?
I am now able to live and work as an artist. When I returned to Scotland, I was able to secure another 4-month artist residency. I received a full scholarship for this Master’s program, which allows me to work on my artistic practice freely for the next two years. Prior to the exchange, I was supporting myself by working as a designer and editor while trying to pursue my artistic practice in the evenings and weekends. It was quite difficult and I didn’t enjoy the jobs I had. This opportunity gave me a huge boost in my art career and I do not think I would be where I am now without it.

Do you have any specific advice for new exchange visitors coming to the U.S.?
As soon as you arrive, try to immerse yourself into the place you are staying. Ask everyone you meet to go for a coffee and just really put yourself out there. Say yes to every opportunity and try to travel as much as possible.

 

Audrey Hasen Taylor, Community Arts Education + Residency Director at MWPAI, also shared thoughts with us about Amy’s residency.

“Amy immediately became very active and involved in our local community. She initiated both personal and professional meetings and connections with a variety of creatives in our area; she was commissioned to create a mural in a new retail shop here in Utica. We cannot say enough great things about Amy. We are lucky to have a part in her early art and teaching career.”

We can't wait to see what Amy does next!

If you are a visual artist looking for Painting or Drawing residency, the AIR program that Amy attended is accepting applications through March 20, 2023. Learn more about the AIR program here, or send us as email at outreach@artsandartists.org to learn about our exchange opportunities.

Radio Reporting with Violette

Welcome back to another exchange visitor profile! Today, we catch up with Violette, a J-1 intern from France who is completing her program at KPFA Radio in Berkeley, CA. Back in France, Violette is a journalism student at Sciences Po Rennes so her background in communications makes her a great fit for the KPFA team!

What are your day to day activities like?

Every morning I am assigned a story/event to cover in SF with the press release related to it. I prepare my interview questions and do some background research to get the context of the story. Then I go on the field, I record ambiance, statements and interview several people. I also take some pictures for [our] social media. Afterwards I go back to the radio station to write my script, edit the sound clips and send it to my editor for correction.

What kind of events do you report on?

I mainly work on social and political current events. The nature of the event can be very different depending on the topic. I’ve covered a rally to protest against a hospital closure, political meetings (city council of Berkeley, S.F. Board of Supervisors), and a protest to defend women’s reproductive rights. Sometimes I also work remotely in the radio station to cover political events that take place in Washington D.C.

What have you learned from your exchange program so far about American life and culture?

Field reporting is a great opportunity to learn about American culture and civilization! As an example, when I attend a political event, like the Board of Supervisors meeting, I learn a lot about the working of the American political system, which is really complex and so different from our French one. From a sociological point of view, protest and rallies are also a good occasion to understand what is at stake at the local level in San Francisco like homeless and affordable housing issues, gun violence, and racial inequalities. I was particularly surprised about the way the Silicon Valley and the tech culture impact the socioeconomic inequalities in the area.

How has this experience helped your English speaking skills so far?

I have to practice my written and spoken English every single day. I can write a news script in English. I have improved my ability to understand oral and written English without using a translation or extra help. My final goal would be to be able to record myself on my own report with a good English pronunciation.

We love hearing about our exchange visitor’s wonderful experiences. If you are an IA&A exchange visitor and would like to chat with us about your program, please send us an email!

Growing as an Artist Through Cultural Exchange

Welcome back to our first blog in…a while! Did you miss us? We’d like to welcome you back with a spotlight post on research scholar, Patrick Quarm. Originally from Ghana, Patrick is exploring his creativity and learning about personal development as a Studio Fellow at NXTHVN in New Haven, CT.

Founded in 2018, NXTHVN is a groundbreaking institution that combines the best of arts and entrepreneurship. Through access, education, programming and impact investing, NXTHVN launches the careers of artists and curators and strengthens the livelihood of its local community. Cornerstone programs include its renowned fellowship to educate and accelerate emerging and underrepresented artists, paid arts apprenticeships for local teens and business incubation to nurture cultural and capital value in the neighborhood.

Here’s what Patrick had to say about his program so far!

Can you tell us about some of your responsibilities and duties at NXTHVN?

Part of the program requirement is being in the studio and working on paintings that are connected to my current and ongoing research about social evolution and hybrid theory. I am required to be present for seminars organized with professionals to teach us about the art world and how to navigate it as a young and upcoming artist. I have been assigned an apprentice who I mentor and meet with twice a week for 3 hours. Working with an apprentice, teaching and mentoring, has been one of the best responsibilities of the program.

What are some new skills you are learning?

The program allows me to have the freedom to create what I am interested in as an artist and gives me the freedom to experiment with ideas, tools, and materials. I have gained a lot through the professional development seminars and discussions [like] the art of negotiating with a potential gallery interested in working with me, being able to talk about my work intellectually, and write a good artist statement.

What is your final goal for your program?

At the end of the year, my main goal is to see my work develop [and] gain access to galleries, collectors, and museums. Through these institutions, an artist is able to build his career. It’s been such a great experience and I am looking forward to learning more before the end of the program.

Thank you for sharing your thoughts, Patrick!

 

The Art of Conservation with Brandon Finney

With every beautiful painting you spot in a museum, it can be easy to forget just how much hard work goes into preserving its prime condition. Artworks are unfortunately not immune to the deleterious effects of time, but the efforts of art conservators can do wonders in slowing down the inevitable wear-and-tear of light, air, insects, and human handling.

Brandon Finney is an exchange visitor from Canada currently working as an art conservation fellow at the Chrysler Museum of Art in Norfolk, VA, where he has been able to practice these protective measures. While Brandon’s projects have ranged from conducting treatments of paintings, writing condition reports, and researching various artists, the core of his work has always focused on art conservation. To him, conservation is an essential part of the arts community; without it, classic works from history would have vanished from the canon. “Conservation’s central tenant is the preservation of cultural heritage for the current and future use of civilization,” he tells us.

“Very few people understand that most artworks are fragile objects—they have only survived because generations of hands have intervened to keep them intact. While we often see the dramatic cleaning of works as the shorthand for conservation, it only encompasses part of what we do. Modern conservation really tries to balance restoration with the long-term preservation of the artifact. This can include pest eradication, climate control, disaster prevention, and unfortunately, finding means of protecting artworks from visitors who don’t respect them."

 

Careful control over such sensitive works takes time and experience, however. It’s a meticulous task that requires someone with the necessary skills and patience to see it to its proper conclusion. The responsibility of protecting the smallest details in sometimes centuries-old works is not for your average hobbyist—but rather for an art professional with a thorough grasp of all aspects of art composition, whether artistic, historical, or scientific. Luckily, Brandon’s expertise and experience in those fields give him an edge.

“Art conservation is the intersection of three fields: art history, chemistry, and studio arts. You need skills and knowledge in all three areas to practice in the field. Most conservators like myself have a master’s in art conservation, with undergraduate education in all three formative fields,” Brandon says. “In addition to having a good grasp on the hand skills and knowledge needed, key skills include creative problem solving, patience, and interest for the work, willingness to objectively re-evaluate your work, and a passion for continued education."

No project of Brandon’s better demonstrates all of these necessary skills than a seventeenth-century Venetian portrait he was recently able to work on. Due to the complexity of the deterioration, restoring the painting involved multiple treatment angles and eventually “turned into an in-depth treatment and research project.”

Portrait of Francesco Bollani, before and after treatment. Chrysler Museum of Art. Italian. Anonymous. 17th century.

“The portrait had been unidentified for at least a century and had suffered major cleaning damage resulting in the loss of the sitter’s hand,” he told us. “I was able to use UV light and digital imaging to read the sitter’s name, then research his life, and finally come up with a reconstruction for his missing hand.”

Detail from Portrait of Francesco Bollani. In UV light, by which inscription can be read.

“I’ve very much enjoyed working on my first Old Master painting since moving to Norfolk. Working at the Chrysler museum has really allowed me to diversify my scope of practice. The Chrysler has an encyclopedic collection of paintings dating back to the 12th century Medieval period. In my previous training at Queen’s University, our works were often 19th and 20th century.”

Aside from all the valuable conservation and restoration work he’s had in his time at the Chrysler, Brandon’s fellowship has been nothing short of restorative for himself. “Since moving to the United States, I’ve [also] been able to visit several East Coast cities that I’ve never been to before. I’ve been able to visit museums I’ve read about for years and tour their conservation labs. I’ve really been trying to take advantage of the location.”

Through his fellowship at the Chrysler, Brandon has had an unforgettable experience that will benefit him tremendously in his future career. This exchange program has been beneficial for both the museum and himself, and the work he does will continue to benefit all parties involved. Learn more about our Cultural Exchange Programs and the other exhibition services that IA&A offers!

Celebrating Black History Month Through Art

by Harrison Moon, Marketing Intern


On February 10, 1976, President Gerald Ford made history. Though many local governments had already given it their official imprimatur, Ford recognized Black History Month on the federal level and issued the following statement:

“The last quarter-century has finally witnessed significant strides in the full integration of black people into every area of national life. In celebrating Black History Month, we can take satisfaction from this recent progress in the realization of the ideals envisioned by our Founding Fathers. But, even more than this, we can seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.”

— Gerald R. Ford, Jr.

(Source: Ford Library Museum)

Above: President Ford meeting with Civil Rights Leaders (left to right) Dorothy Height, Stanley Scott, Vernon Jordan, and Rev. Jesse Jackson, 1974. Photograph by Ricardo Thomas. Courtesy of Chicago Sun-Times Archives.

The month-long celebration has been nothing short of pivotal to our basic understanding of our country’s social background—and the immeasurable contributions to our national character and culture by African-Americans, which go back to long before the United States was founded. Some argue that four weeks a year may not be enough; that the observances of this special month (its opportunities for education and recognition) have, over the past 44 years, only scratched the surface of the profound contributions of African-Americans to our culture.

In fact, the influence of great African-Americans can be seen all around us, and acknowledging their importance is quintessential to the backbone of our country’s complex history. As part of our mission of promoting cross-cultural understanding through the arts, International Arts & Artists is dedicated to highlighting this extraordinary legacy. Since our founding in 1995, our exhibitions and programs have always tried to heighten viewers’ awareness of the many cultural legacies that have woven their richness through our nation and the world, like bright threads in a vast tapestry. These, of course, include African-American artists and the profound cultural history their work represents.

Above: Joseph Holston, After Harriet, 2008, mixed media on canvas. Courtesy of the artist.

Since the mid-19th century, some of the most powerful stories in American history have been those of the Underground Railroad. Painter and printmaker Joseph Holston brings this stark subject matter to vivid life in Color in Freedom: Journey Along the Underground Railroad, organized by the Arts Program of the University of Maryland and toured by IA&A from 2009 to 2015. The 49 paintings and etchings in the exhibition evoke the courage and tenacity of slaves throughout the 1800s and the harsh conditions they endured to reach the Underground Railroad. Slavery remains an inexplicably horrifying part of America’s past, and its remembrance is essential to recognizing the contributions of African-Americans to our society today. Holston honors these significant events through his works by showing that even through bondage, the resilient black spirit has endured and overcome extraordinary challenges, and continues to resonate in American culture today.

Above: Jacob Lawrence, The Builders, 1974, silkscreen, 291/300. Photograph by IA&A. ©2017 Jacob Lawrence / Artists Rights Society (ARS), New York.

As featured in IA&A’s Hechinger Collection, Jacob Lawrence’s remarkable tableaux of The Great Migration take viewers through one of the most influential periods of African-American history. In the wake of rampant economic and racial disenfranchisement in the Jim Crow South, a prolonged period of northward African-American migration flourished in the years after World War I. This mass movement of African-Americans away from the farms and rural communities of the South marked a new era of industrialization, cultural revolution, and workforce diversification. Lawrence’s 1974 lithograph The Builders evokes the experience of thousands of newly-arrived African-Americans who had to adapt rapidly to a (seemingly) new country. Black migrants were a pivotal factor in the rise of Northern industrialization, and their new urban presence ushered a profound cultural clash as well as significant socioeconomic changes in the cities. Lawrence’s prints can be seen in IA&A’s traveling exhibitions ReTooled (2014-2020) and Making Your Mark (2021-2023).

Above: Claude Clark, Self Determination, 1969, oil on board. Photograph by Reis Birdwhistell.

Known for his work with a palette knife, painter Claude Clark is featured in Memories and Inspiration: The Kerry and C. Betty Davis Collection of African American Art, currently on view through July 26, 2020 at the Gilcrease Museum in Tulsa, Oklahoma. Like Lawrence’s prints, many of Clark’s works illuminate the unique plight of African-Americans as they sought to settle into the more industrial North. In his painting Self-Determination, Clark charts the emotional and economic crossroads experienced by black society at this tumultuous time. As industrialization began to take off in the United States, the rights and livelihoods of minorities rose on its slipstream, as African-Americans gained more financial independence, political representation, and artistic expression. Memories and Inspiration highlights the visual reverberations of civil rights and social justice, including work by Romare Bearden, Elizabeth Catlett, Ernest T. Crichlow, Sam Gilliam, Gordon Parks, and Alma Thomas.

Above: Carl Michel, Pas de Dix jacket, 1983. Photograph 2013 by Earl Hudnall.

As African-American literature and art entered the late 20th century, black culture saw its most precipitous rise since the Harlem Renaissance of the 1920s. This latest rebirth of African-American culture yielded a plethora of vibrant art forms, including a new dance and theater scene. From 2014 to 2018, IA&A toured an exhibition organized in partnership with The Dance Theatre of Harlem, the California African American Museum, and The New York Public Library for the Performing Arts. Dance Theatre of Harlem: 40 Years of Firsts featured a rich array of costumes, photographs, and set pieces from the iconic Dance Theatre of Harlem. Since its founding in 1969 by Arthur Mitchell and Karel Shook, the legendary theatre company has vaulted to the front ranks of the American ballet world, soundly dispelling the notion that classical ballet could not be performed by those of African descent. With its groundbreaking productions, stylistic innovations, and tours—more than 40 countries and 250 cities around the world—the Dance Theatre of Harlem has blazed a peerless reputation as a dynamic cultural force to be reckoned with.

Above: Lary Hulst, Jimi Hendrix at the Golden Bear Raceway, Cal Expo, April 26, 1970, photograph. Courtesy of the artist.

Likewise, 1960s rock star Jimi Hendrix—another iconic (and genre-breaking) colossus of American culture—has few peers among artists of any race. Fifty years after his death, James Marshall "Jimi" Hendrix, a musical prodigy known for his legendary guitar playing and songwriting, remains one of the most influential musicians of modern times. Touring from 2021 to 2023, Front Row Center: Icons of Rock, Blue, and Soul includes raw, candid photographs of Hendrix’s ferocious passion for his music. His talent pulses and shines through every image—just as the protean genius of his immortal music has left a timeless, searing mark on American art and history.

Today, our society and culture are virtually unimaginable without the contributions of African-Americans—an essential thread in our history since the early 17th century. The cultural, social, and technological fabric of our country was woven in part by them, and all Americans have a duty to honor their significance; especially on the month dedicated to their memory. Countless artists have dedicated their work to the remembrance of black culture, which IA&A’s exhibitions try to reflect. The arts play a powerful role in bridging cultural barriers and opening doors to new worlds; and through IA&A, cross-cultural understanding becomes a reality.

Discover more about IA&A's mission, and about many other works dedicated to the awareness of African-American arts, in our exhibitions below. 

Above: Inspiring Beauty: 50 Years of Ebony Fashion Fair, On view in 2015-2016 at the Charles H. Wright Museum of African American History in Detroit, MI.

Above: Loïs Mailou Jones, Mère du Senegal, 1985, acrylic. Courtesy of the Loïs Mailou Jones Pierre-Noël Trust.

Above: Loïs Mailou Jones: A Life in Vibrant Color, On view in 2013 at Howard University’s Gallery of Art in Washington, DC.

Above: Randy Hayes, Rodney, Mississippi #2 (Road), 2004, oil on photographs with pushpins. Courtesy of the artist.

On view in 2012 at the California African American Museum in Los Angeles, CA

Above: Reflections: African American Life from the Myrna Colley-Lee Collection, On view in 2013 at Howard University’s Gallery of Art in Washington, DC.

Above: Nora McKeown Ezell, Star Quilt, 1977. Cotton and synthetics. American Folk Art Museum, Museum purchase made possible in part by a grant from the National Endowment for the Arts, with matching funds from The Great American Quilt Festival. Photo by Scott Bowron.

Above: Jean-Marcel St. Jacques, Mother Sister May Have Sat in That Chair When She Lived in This House Before Me, 2014, wood, nails, and antique hardware on plywood. American Folk Art Museum, Gift of Jean-Marcel St. Jacques.

Richard Hunt: Affirmations

(On view in 1998)

Above: Richard Hunt, Wing Generator, 1989, welded corten steel. Installation at the The Charles H. Wright Museum of African American History in Detroit, Michigan.

 
 
 

Experience Cuba’s Vibrant Culture with these Must-See Sights in Havana

Havana, also known as La Ciudad de las Columnas, pulsates with history, culture, and art. From the eclectic mixture of colonial and art deco architecture to the rich rhythmic sounds that echo along cobblestone streets, Havana is a mecca of ingenuity.

This spring, this incredible city is set to host the thirteenth edition of the Havana Biennial, conceived in 1984 by the Wilfredo Lam Contemporary Art Center as an event for artists instead of collectors. Since then, it has gained importance as a meeting place and platform for artists from Latin America and other developing countries. This year’s Biennial will focus on the theme of “La Construcción de lo Posible”. Along with responding to the present, artists and works will present notions of the future that respond to society’s need for social transformation.

Together with Project Por Amor, International Arts & Artists is arranging a cultural exchange trip to Cuba to attend the Biennial. From exhibition openings to artist studio visits, participants will explore the incredible city of Havana at its best. Learn more and sign up for the trip here!

Looking for more art and culture to see in Havana? Don’t don’t miss these essential excursions in and around La Ciudad de las Columnas!

Habana Vieja  

Meander down the cobbled streets of the original five plaza layout in Old Havana built in 1519. Explore Baroque to neoclassical architecture, view some of the oldest and largest stone fortifications in the Americas, and see why Habana Vieja has garnered UNESCO World Heritage status. Make sure you take time to explore the Catedral de San Cristobal, the famous restaurant La Bodeguita del Medio, the Castillo de la Real Fuerza, and Plaza Vieja.

Fusterlandia

Step into the magical kingdom of Fusterlandia, where artist José Fuster has reclaimed and transformed the neighborhood of Jamanitas. Inspired by work done in Europe by artists such as Gaudi and Brâncuși, Fuster began incorporating his artistic practice into his surroundings. Visit Fusterlandia and experience the wonder of his whimsical ceramic, mosaic tile, and recycled art creations.

Fabrica de Arte Cubano

Immerse yourself in the cultured nightlife of Havana! Listen to live music, dance, see a play, movie, or other art installation at this cultural powerhouse. Once an old peanut oil factory, Fabrica holds a multitude of events and workshops in celebration of all branches of art, including theater, dance, visual art, photography, fashion, graphic art, architecture, and more! Learn and let loose at this hip new venue.    

Museo Nacional de Bellas Artes de Cuba

Attending the Havana Biennial and still find yourself craving more art? The National Museum of Fine Arts holds the largest collection of art in the country, with a section solely exhibiting Cuban artists and the rest of the museum displaying a multitude of international artists. Located in two buildings next to the famous Martí Promenade, the museum also boasts one of the largest collections of paintings and sculptures in all Latin America.

Finca Vigía

Love Ernest Hemingway? Finca Vigía was where this prolific author lived and wrote some of his most impressive works, including For Whom the Bell Tolls and The Old Man and the Sea. The estate is now a museum where visitors can walk around the gardens, peer into the interior of the home, and imagine his genius at work.

El Malecón

Stroll down this broad five mile esplanade for spectacular views of Havana. Stretching from Old Havana to El Vedado, this place is the ultimate melting pot where people from all over the city gather. Take pictures, relax, and enjoy the warm sea breeze! Plus, see if you can spot the lighthouse at El Morro Castle, which guards the entrance to the Havana bay.

El Cementerio de Cristóbal Colón 

In the mood for something ominous? Venture to Colón, considered one of the most remarkable cemeteries in the world. Created in 1876, it contains elaborately sculpted memorials in architectural styles ranging from art deco to neoclassical to renaissance.  

Ready to book your flight to Cuba? Learn more about International Arts & Artists’ trip to the Havana Biennial here and sign up using the button below.