Dear followers, 

We’d like to extend a huge thank you to each of you for liking, reblogging and following this tumblr and supporting The Shadows Took Shape programming. 

This will be this tumblr page’s final post but we suggest following The AfroFuturist Affair moderated by guest blogger Rasheedah Phillips. 

P.S. You can purchase the exhibition’s catalogue here.

See you in the afrofuture,

Studio Museum in Harlem

Source: studiomuseum.org

6art, black art, afrofuturism, shadows took shape, studio museum,

"You know, those of us involved in the afrofuturist debate feel partly responsible for the coming of the afropolitic. I want to try and rescue something from it, for a minute, by returning to that debate on “futurority” which afrofuturism is about. If you remember… neither term, either afro or futurist, were indeed new."
John Akomfrah, Manifesa #17: Raimi Gbadamosi talks with John Akomfrah on Contemporary& (via studiomuseum)

(via studiomuseum)

studiomuseum:

This the final week of The Shadows Took Shape, catch this exhibition before it closes March 9th!
Image: (Top) Laylah Ali, Untitled, 2005. Courtesy the artist(Bottom) Laylah Ali, Untitled, 2005. Courtesy Currier Museum of Art, Manchester, NH; Museum Purchase: the Henry Melville Fuller Acquisition Fund
ZoomInfo
studiomuseum:

This the final week of The Shadows Took Shape, catch this exhibition before it closes March 9th!
Image: (Top) Laylah Ali, Untitled, 2005. Courtesy the artist(Bottom) Laylah Ali, Untitled, 2005. Courtesy Currier Museum of Art, Manchester, NH; Museum Purchase: the Henry Melville Fuller Acquisition Fund
ZoomInfo

studiomuseum:

This the final week of The Shadows Took Shape, catch this exhibition before it closes March 9th!

Image:
(Top) Laylah Ali, Untitled, 2005. Courtesy the artist
(Bottom) Laylah Ali, 
Untitled, 2005. Courtesy Currier Museum of Art, Manchester, NH; Museum Purchase: the Henry Melville Fuller Acquisition Fund

Source: studiomuseum

studiomuseum:

Jeff Wall
After “Invisible Man” by Ralph Ellison, the Prologue, 2000
Silver dye bleach transparency; aluminum light box, 5 ft. 8 1/2 in. x 8 ft. 2 3/4 in. (174 x 250.8 cm)

Saturday, March 1st, we’re partnering with The Schomburg Center to present Ellison at 100: Reading Invisible Man. This week we’ll be sharing our favorite Ralph Ellison or Invisible Man quotes or artwork using #Ellison100. Stay tuned and use the hashtag to share your favorite quotes and artwork too!

Source: moma.org

studiomuseum:

TIM ROLLINS and K.O.S.
Invisible Man (after Ralph Ellison), 2008
matte acrylic and book pages on canvas
24 x 24 inches
61 x 61 cm
LM11968

Saturday, March 1st, we’re partnering with The Schomburg Center to present Ellison at 100: Reading Invisible Man. This week we’ll be sharing our favorite Ralph Ellison or Invisible Man quotes or artwork using #Ellison100. Stay tuned and use the hashtag to share your favorite quotes and artwork too!

Source: lehmannmaupin.com

A new video game, Assassin’s Creed: Liberation, is set in 18th Century Louisiana and features the Creole heroine Aveline de Grandpré, who infiltrates plantations, fights masters and incites riots in her missions.
“‘Blackness can be a sort of performance,’ wrote the Kotaku writer Evan Narcisse, who has championed Assassin’s Creed: Liberation, as well as advocated more sophisticated portrayals of African-Americans in video games in general. Liberation makes that metaphor literal, by letting Aveline adopt personas that give her varying abilities and constraints. The ‘lady,’ who dresses and acts like the wealthy free woman that Aveline is, can fool men by charming them and is less likely to be noticed by the guards in the game — but she can’t climb buildings and is weak in a fight. The slave — Aveline disguises herself as one, while she and her white stepmother work to free others — can infiltrate areas under cover of labor. And the assassin persona is, well, less concerned with the historical basis of double consciousness.”
Full article: http://www.nytimes.com/2014/01/28/arts/video-games/assassins-creed-liberation-examines-colonial-blacks.html?ref=arts
ZoomInfo
A new video game, Assassin’s Creed: Liberation, is set in 18th Century Louisiana and features the Creole heroine Aveline de Grandpré, who infiltrates plantations, fights masters and incites riots in her missions.
“‘Blackness can be a sort of performance,’ wrote the Kotaku writer Evan Narcisse, who has championed Assassin’s Creed: Liberation, as well as advocated more sophisticated portrayals of African-Americans in video games in general. Liberation makes that metaphor literal, by letting Aveline adopt personas that give her varying abilities and constraints. The ‘lady,’ who dresses and acts like the wealthy free woman that Aveline is, can fool men by charming them and is less likely to be noticed by the guards in the game — but she can’t climb buildings and is weak in a fight. The slave — Aveline disguises herself as one, while she and her white stepmother work to free others — can infiltrate areas under cover of labor. And the assassin persona is, well, less concerned with the historical basis of double consciousness.”
Full article: http://www.nytimes.com/2014/01/28/arts/video-games/assassins-creed-liberation-examines-colonial-blacks.html?ref=arts
ZoomInfo

A new video game, Assassin’s Creed: Liberation, is set in 18th Century Louisiana and features the Creole heroine Aveline de Grandpré, who infiltrates plantations, fights masters and incites riots in her missions.

“‘Blackness can be a sort of performance,’ wrote the Kotaku writer Evan Narcisse, who has championed Assassin’s Creed: Liberation, as well as advocated more sophisticated portrayals of African-Americans in video games in general. Liberation makes that metaphor literal, by letting Aveline adopt personas that give her varying abilities and constraints. The ‘lady,’ who dresses and acts like the wealthy free woman that Aveline is, can fool men by charming them and is less likely to be noticed by the guards in the game — but she can’t climb buildings and is weak in a fight. The slave — Aveline disguises herself as one, while she and her white stepmother work to free others — can infiltrate areas under cover of labor. And the assassin persona is, well, less concerned with the historical basis of double consciousness.”

Full article: http://www.nytimes.com/2014/01/28/arts/video-games/assassins-creed-liberation-examines-colonial-blacks.html?ref=arts

6assassin's creed, Games, video games, afrofuturism, studio museum, studio museum in harlem,

Happy Valentine’s Day, swing by the museum at 6pm for Double Vision!
Two films, The Wiz (1971) and The Brother from Another Planet (1984) will be screened at the same time, preceded by an informative artist-led tour of The Shadows Took Shape!
Refreshments will be provided. RSVP at studiomuseum.org. 
Who doesn’t love an afrofuturist?!
Please note: Brother from Another Planet is intended for audiences ages 17 and up.
ZoomInfo
Happy Valentine’s Day, swing by the museum at 6pm for Double Vision!
Two films, The Wiz (1971) and The Brother from Another Planet (1984) will be screened at the same time, preceded by an informative artist-led tour of The Shadows Took Shape!
Refreshments will be provided. RSVP at studiomuseum.org. 
Who doesn’t love an afrofuturist?!
Please note: Brother from Another Planet is intended for audiences ages 17 and up.
ZoomInfo

Happy Valentine’s Day, swing by the museum at 6pm for Double Vision!

Two films, The Wiz (1971) and The Brother from Another Planet (1984) will be screened at the same time, preceded by an informative artist-led tour of The Shadows Took Shape!

Refreshments will be provided. RSVP at studiomuseum.org. 

Who doesn’t love an afrofuturist?!

Please note: Brother from Another Planet is intended for audiences ages 17 and up.

6afrofuturism, studio museum in harlem, shadows took shape, teen program, the wiz, brother from another planet, film,

Black History to Black Futurism: Trajecting our Liberation

Black History Month has become a month that is used to share history and knowledge of past leaders, intellectuals, artists and shapers of black life in the Diaspora and the continent. It is a year where we, as a diverse people, collectively celebrate the advancements we have made and track the key moments that have led us to where we are in the present times.

This month is vital to the our continual collective memory, which contributes to never forgetting the brutality and horrors we faced in various locations across the world and how we defiantly and creatively resist the powers who try to succumb us to the belief that there are no possibilities of freedom and liberation. Of course, it is important that we do not fall into essentialized definitions of “black” and “African.” For the purposes of this article, I am speaking of people of Afro-descent living in North America (particularly Canadian), as our condition, which is also complicated and complex, is also very much different of Afro/Black experiences in other regions of the world. Read more

Source: forharriet.com

6afrofuturism, shadows took shape, News, black history month,

Black Aquatic and Afrofuturism Slideshow & Playlist

beautone:

Here are the slides for my presentation from the Black Aquatic and Afrofuturism panel last Thursday at the Studio Museum of Harlem:

Black Aquatic Slideshow

Spotify Playlist 

A great recap of the panel by afutureancient with links to many of the discussed works can be found here:

http://afutureancient.tumblr.com/post/76056864144/modern-griots-recap-the-black-aquatic-and

Source: beautone

6art, shadaws took shape, afrofuturism,

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