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Sara Penn’s Knobkerry: An Oral History Sourcebook is the culmination a years-long oral history project, conceived and developed by writer and oral historian Svetlana Kitto, that begins to demarcate a potential sphere of influence for artist and designer Sara Penn (1927-2020) and Knobkerry, the store she founded and ran in New York City. This publication assembles fifteen long-form interviews with figures close to Penn and Knobkerry, conducted by Kitto between 2017 and 2020, including Sara Penn, Andrea Aranow, Charles Daniel Dawson, David Hammons, Joanne Robinson Hill, Kate Prendergast and Jane Barrell Yadav, Sana Musasama, Eric Robertson, Fumi Schmidt, Seret Scott, Elena Solow, Carol Thompson, Ken Tisa, and Paulette Young. It also includes extensive reproductions of archival materials related ..., https://www.librarystack.org/sara-penns-knobkerry-an-oral-history-sourcebook/?ref=unknown

The catalog for Jessse Wine: Imperfect List includes exhibition documentation and a new essay by Kyle Dancewicz, the exhibition’s curator. Imperfect List, the artist’s first U.S. solo museum exhibition, brings together a wide variety of works, ranging from larger-than-life, abstracted figures, to segmented, floor-bound works displaying fragments of dexterous limbs and living room furniture, to modernist buildings and a fleet of small trucks. The exhibition continues British-born, New York-based artist Jesse Wine’s open and intuitive approach to sculpture and stages an anxious relationship between rest and activity., https://www.librarystack.org/jesse-wine-imperfect-list/?ref=unknown

The catalog for Jessse Wine: Imperfect List includes exhibition documentation and a new essay by Kyle Dancewicz, the exhibition’s curator. Imperfect List, the artist’s first U.S. solo museum exhibition, brings together a wide variety of works, ranging from larger-than-life, abstracted figures, to segmented, floor-bound works displaying fragments of dexterous limbs and living room furniture, to modernist buildings and a fleet of small trucks. The exhibition continues British-born, New York-based artist Jesse Wine’s open and intuitive approach to sculpture and stages an anxious relationship between rest and activity., https://www.librarystack.org/jesse-wine-imperfect-list/?ref=unknown

Sara Penn’s Knobkerry: An Oral History Sourcebook is the culmination a years-long oral history project, conceived and developed by writer and oral historian Svetlana Kitto, that begins to demarcate a potential sphere of influence for artist and designer Sara Penn (1927-2020) and Knobkerry, the store she founded and ran in New York City. This publication assembles fifteen long-form interviews with figures close to Penn and Knobkerry, conducted by Kitto between 2017 and 2020, including Sara Penn, Andrea Aranow, Charles Daniel Dawson, David Hammons, Joanne Robinson Hill, Kate Prendergast and Jane Barrell Yadav, Sana Musasama, Eric Robertson, Fumi Schmidt, Seret Scott, Elena Solow, Carol Thompson, Ken Tisa, and Paulette Young. It also includes extensive reproductions of archival materials related to Penn and the store, collected by Kitto in collaboration with Penn and a number of her close relations. From the early 1960s, Knobkerry traded in textiles and ethnographic objects, which Penn expertly transformed into coveted patchwork garments and arranged in elaborate and densely layered displays. In Penn’s hands, these items registered the local effects of globalization, including increased access to objects of international trade, eager markets for fashionable multiculturalism, and a conflicted relationship to American identity. Intimately produced with her singular expertise and craftsmanship, Penn’s work was publicly lauded, circulated, copied, and codified as the archetypal “hippie” style (though Penn referred to Knobkerry’s wares as “Third World Design and Art” in the 1960s) by celebrities and mainstream press outlets. At the same time the store served as an important physical and social space for a network of Black intellectuals, musicians, and artists, and for a broader subset of cultural and subcultural figures passing through New York – even as its brick-and-mortar storefront moved from the East Village to SoHo and then to TriBeCa, on a now-fami, https://www.librarystack.org/sara-penns-knobkerry-an-oral-history-sourcebook/?ref=unknown

Sara Penn’s Knobkerry: An Oral History Sourcebook is the culmination a years-long oral history project, conceived and developed by writer and oral historian Svetlana Kitto, that begins to demarcate a potential sphere of influence for artist and designer Sara Penn (1927-2020) and Knobkerry, the store she founded and ran in New York City. This publication assembles fifteen long-form interviews with figures close to Penn and Knobkerry, conducted by Kitto between 2017 and 2020, including Sara Penn, Andrea Aranow, Charles Daniel Dawson, David Hammons, Joanne Robinson Hill, Kate Prendergast and Jane Barrell Yadav, Sana Musasama, Eric Robertson, Fumi Schmidt, Seret Scott, Elena Solow, Carol Thompson, Ken Tisa, and Paulette Young. It also includes extensive reproductions of archival materials related to Penn and the store, collected by Kitto in collaboration with Penn and a number of her close relations. From the early 1960s, Knobkerry traded in textiles and ethnographic objects, which Penn expertly transformed into coveted patchwork garments and arranged in elaborate and densely layered displays. In Penn’s hands, these items registered the local effects of globalization, including increased access to objects of international trade, eager markets for fashionable multiculturalism, and a conflicted relationship to American identity. Intimately produced with her singular expertise and craftsmanship, Penn’s work was publicly lauded, circulated, copied, and codified as the archetypal “hippie” style (though Penn referred to Knobkerry’s wares as “Third World Design and Art” in the 1960s) by celebrities and mainstream press outlets. At the same time the store served as an important physical and social space for a network of Black intellectuals, musicians, and artists, and for a broader subset of cultural and subcultural figures passing through New York – even as its brick-and-mortar storefront moved from the East Village to SoHo and then to TriBeCa, on a now-fami, https://www.librarystack.org/sara-penns-knobkerry-an-oral-history-sourcebook/?ref=unknown

The catalog for Jessse Wine: Imperfect List includes exhibition documentation and a new essay by Kyle Dancewicz, the exhibition’s curator. Imperfect List, the artist’s first U.S. solo museum exhibition, brings together a wide variety of works, ranging from larger-than-life, abstracted figures, to segmented, floor-bound works displaying fragments of dexterous limbs and living room furniture, to modernist buildings and a fleet of small trucks. The exhibition continues British-born, New York-based artist Jesse Wine’s open and intuitive approach to sculpture and stages an anxious relationship between rest and activity., https://www.librarystack.org/jesse-wine-imperfect-list/?ref=unknown

Art has served belief for a very long time. In the wake of a vast historical trove of devotional objects, religious subject matter, pseudo-religious spectatorship, and trompe-l’oeil trickery, a broad swath of recent art based in trust, tenuous faith, or the suspension of disbelief fans out. Near the end of the last century, photo-documents asked viewers to believe that some of conceptual art’s most important gestures actually happened, while in the last twenty to thirty years works of autofiction, parafiction, and straight-up fiction have exploited our own skepticism and naivete by intentionally introducing the unbelievable into the realm of the ..., https://www.librarystack.org/in-practice-total-disbelief/?ref=unknown

Art has served belief for a very long time. In the wake of a vast historical trove of devotional objects, religious subject matter, pseudo-religious spectatorship, and trompe-l’oeil trickery, a broad swath of recent art based in trust, tenuous faith, or the suspension of disbelief fans out. Near the end of the last century, photo-documents asked viewers to believe that some of conceptual art’s most important gestures actually happened, while in the last twenty to thirty years works of autofiction, parafiction, and straight-up fiction have exploited our own skepticism and naivete by intentionally introducing the unbelievable into the realm of the real. And as it goes for X-Files fans: we want to believe…, https://www.librarystack.org/in-practice-total-disbelief/?ref=unknown

Art has served belief for a very long time. In the wake of a vast historical trove of devotional objects, religious subject matter, pseudo-religious spectatorship, and trompe-l’oeil trickery, a broad swath of recent art based in trust, tenuous faith, or the suspension of disbelief fans out. Near the end of the last century, photo-documents asked viewers to believe that some of conceptual art’s most important gestures actually happened, while in the last twenty to thirty years works of autofiction, parafiction, and straight-up fiction have exploited our own skepticism and naivete by intentionally introducing the unbelievable into the realm of the real. And as it goes for X-Files fans: we want to believe…, https://www.librarystack.org/in-practice-total-disbelief/?ref=unknown

Searching the Sky for Rain came out of a series of conversations over the past decade with artists, thinkers, and colleagues on questions around representation and abstraction, identity and identification, inclusion and exclusion, visibility and non-visibility. The language used to discuss the exhibition deliberately rejected the terminology usually used by institutions to address social positions and particularities. The exhibition brings together works by artists who disregard the ways in which the art industry regulates, classifies, compartmentalizes, and essentializes difference into sanctioned categories. This multicultural “appropriation/misappropriation” is, according to Gloria Anzaldúa, “an attempt to control difference by allocating it to bordered-off ..., https://www.librarystack.org/searching-the-sky-for-rain/?ref=unknown

Searching the Sky for Rain came out of a series of conversations over the past decade with artists, thinkers, and colleagues on questions around representation and abstraction, identity and identification, inclusion and exclusion, visibility and non-visibility. The language used to discuss the exhibition deliberately rejected the terminology usually used by institutions to address social positions and particularities. The exhibition brings together works by artists who disregard the ways in which the art industry regulates, classifies, compartmentalizes, and essentializes difference into sanctioned categories. This multicultural “appropriation/misappropriation” is, according to Gloria Anzaldúa, “an attempt to control difference by allocating it to bordered-off sections in the curriculum.”1 The artists in Searching the Sky for Rain defy the fracking of particularities into niche-marketed, T-shirt formulations of “identities” for institutional meaning and value production…, https://www.librarystack.org/searching-the-sky-for-rain/?ref=unknown

Searching the Sky for Rain came out of a series of conversations over the past decade with artists, thinkers, and colleagues on questions around representation and abstraction, identity and identification, inclusion and exclusion, visibility and non-visibility. The language used to discuss the exhibition deliberately rejected the terminology usually used by institutions to address social positions and particularities. The exhibition brings together works by artists who disregard the ways in which the art industry regulates, classifies, compartmentalizes, and essentializes difference into sanctioned categories. This multicultural “appropriation/misappropriation” is, according to Gloria Anzaldúa, “an attempt to control difference by allocating it to bordered-off sections in the curriculum.”1 The artists in Searching the Sky for Rain defy the fracking of particularities into niche-marketed, T-shirt formulations of “identities” for institutional meaning and value production…, https://www.librarystack.org/searching-the-sky-for-rain/?ref=unknown