Ahead of a Faith Ringgold retrospective due to open at the New Museum in February, the National Gallery of Art in Washington, D.C. has acquired a painting from the artist’s famed “American People Series.” Titled The American People Series #18: The Flag is Bleeding (1967), the painting was gifted to the museum by the Glenstone Foundation, which was formed by ARTnews Top 200 Collectors Emily and Mitchell Rales. (Mitchell is the president of the National Gallery’s board.) It is the first painting by Ringgold to enter the museum’s collection.
In The Flag is Bleeding, a white woman is shown interlocking arms with two men, one of them white, the other Black. All of their forms are partially obscured by an American flag whose stripes ooze blood. The source of some of that blood appears to be the Black man’s chest, which has on it a wound that he covers with his hand, in a position that recalls the one taken while reciting the Pledge of Allegiance. In the hand not held to the wound, the man holds a knife.
National Gallery curator Harry Cooper said in an interview that staff at the museum initially thought that Ringgold’s work may prove too expensive to acquire. But with director Kaywin Feldman’s encouragement, “We aimed high in really going after artists who were underrepresented in the collection,” he said.
When they reached out to Ringgold’s dealer they were presented with a selection of works that Ringgold had kept in her personal collection for years. Among them was The Flag is Bleeding. “We at the National Gallery are trying more and more to represent the paintings that have something important to say about the nation,” Cooper said.
Ringgold has previously made use of the American flag in works the deal head-on with racism in the U.S. “The flag is the only truly subversive and revolutionary abstraction one can paint,” she once said. Similar works to The Flag is Bleeding appeared in a recent Ringgold survey held by the Raleses’ Glenstone museum in collaboration with the Serpentine Galleries in London. The painting is due to appear in Ringgold’s New Museum show.
Post-Conquest Aztec Altar Found in Mexico on 500th Anniversary of Spain’s Invasion
When Hernan Cortes invaded Mexico in 1521, it heralded the end of an era for the Aztec people. But that empire was not finished all at once, and according to the BBC, a new archaeological find shows that some Aztecs managed to continue living after the Spanish arrived. Earlier this week, Mexican officials announced that…
When Hernan Cortes invaded Mexico in 1521, it heralded the end of an era for the Aztec people. But that empire was not finished all at once, and according to the BBC, a new archaeological find shows that some Aztecs managed to continue living after the Spanish arrived.
Earlier this week, Mexican officials announced that they found an altar formed by a family that survived the initial Spanish invasion. The altar was discovered quite deep underground. Archaeologist Mara Becerra told the BBC that she believes the altar was purposefully buried to hide it from the Spanish. Becerra also believes that the family who made this altar were Mexica, the Indigenous people who ruled the Aztec empire.
Archaeologists spent three months studying an old Indigenous house, particularly the courtyard where the ritual offerings were made. There, the archaeologists found 13 incense burners, five bowls, a cup, a plate and a pot with cremated skeletal remains.
A statement by Mexico’s culture ministry said that the altar was made “to bear witness to the ending of a cycle of their lives and of their civilization.” The announcement of these findings comes on the 500th anniversary of Spain’s invasion.
Mexico is a treasure trove of potential archaeological sites that have not yet been excavated. Even Teotihuacán, one of the most famous Mexican archaeological sites, is only 5 percent excavated. Late this past October, 500 potential archaeological sites were discovered in Mexico using Light Detection and Ranging technology.
However, in recent years there have been exciting discoveries all around the country. In 2020, a newly discovered Aztec tower of skulls, found in Mexico city, drew substantial media attention. But, due to the pandemic, progress made in the archaeological field in Mexico has faced some setbacks.
Simone Leigh, Who Departed Hauser & Wirth After Less Than Two Years, Joins Matthew Marks Gallery
Simone Leigh, who departed the mega-gallery Hauser & Wirth last October after just 21 months, has joined Matthew Marks gallery. The artist, who is preparing to represent the United States at the 2022 Venice Biennale, joins a roster that includes Alex Da Corte, Martin Puryear, and Jasper Johns. She made her debut with Matthew Marks…
Simone Leigh, who departed the mega-gallery Hauser & Wirth last October after just 21 months, has joined Matthew Marks gallery. The artist, who is preparing to represent the United States at the 2022 Venice Biennale, joins a roster that includes Alex Da Corte, Martin Puryear, and Jasper Johns. She made her debut with Matthew Marks at Art Basel Miami Beach, which opened this week.
The sought-after sculptor’s departure from Hauser & Wirth spurred speculation over whether she had found new representation. Leigh joined the gallery, which has 15 locations worldwide, in 2020 after leaving New York’s Luhring Augustine and Los Angeles’s David Kordansky Gallery, the latter of which had represented her for half a year.
In mid-October, Hauser & Wirth had prominently featured Leigh’s sculptures in Frieze London. A major exhibition at the gallery’s location in Zurich, her first presentation in Switzerland, was ongoing amid the split. The details surrounding her departure have remained under wraps, and both parties issued gracious statements at the time.
“I love and respect the people I worked with at Hauser and Wirth,” Leigh said. “But I do not feel the gallery is the right fit for me in the wider sense. I’m still figuring out what I want from a primary gallery relationship.” The decision came amid a career-high for the New York-based artist, who will be the first Black woman to represent the U.S. in Venice.
In 2017 she was awarded the Studio Museum in Harlem’s $50,000 Joyce Alexander Wein Artist Prize, and the following year she won the Hugo Boss Prize, which comes with $100,000 and a solo exhibition at New York’s Guggenheim Museum. Her work was chosen by the prize’s jury for its “longstanding and unwavering commitment to addressing black women as both the subject of and audience for her work, a focus which imagines a recalibration of the outmoded power structures that shape contemporary society.”
Leigh was included in the critically acclaimed 2021 survey “Grief and Grievance: Art and Mourning in America” at the New Museum in New York; she was also featured in the Prospect New Orleans triennial. Her work is currently on view in the group show “Black American Portraits” at the Los Angeles County Museum of Art.
Met Museum Receives Landmark $125 M. from Longtime Trustee Oscar Tang
New York’s Metropolitan Museum of Art has announced its largest capital gift in its 151-year history: $125 million pledged by the museum’s long-time trustee Oscar Tang and his wife, Agnes Hsu-Tang. The funds will go towards a renovation project centered around the museum’s presentation of modern and contemporary art, to include 80,000 square-feet of galleries…
New York’s Metropolitan Museum of Art has announced its largest capital gift in its 151-year history: $125 million pledged by the museum’s long-time trustee Oscar Tang and his wife, Agnes Hsu-Tang. The funds will go towards a renovation project centered around the museum’s presentation of modern and contemporary art, to include 80,000 square-feet of galleries and public space to be named the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing.
The long-postponed “re-envisioning” of the Met’s modern and contemporary galleries, first proposed more than a decade ago, has been delayed due to a lack of funding. The project is currently estimated to cost a total of $500 million.
Oscar Tang, the octogenarian retired financier, founded the investment management firm Reich & Tang. Having served on the Met’s board for three decades, it is not the first transformative gift he’s bestowed on the New York institution. In 1997, he gave $14 million to fund the Met’s purchase of rare Chinese paintings, and in 2015 gave $15 million to establish new curatorial positions and to support programming for the centennial of the museum’s department of Asian art.
Tang is the son of Tang Ping-yuan, a Chinese textile mogul who founded a successful manufacturing company in Hong Kong in the post-Communist era. In the Met’s press release, he attributed his philanthropic activities in part to having been displaced by conflict in his home region and being subsequently educated in the U.S. Tang’s previous philanthropic gifts also include money given to the New York Philharmonic, Yale University, and the Gordon Parks Foundation. Agnes Hsu-Tang, an archaeologist and researcher at Columbia University, has served as a cultural heritage advisor at UNESCO and for the Obama administration.
“Their generosity—while breathtaking in its scope and vision—is no surprise, as it is an extension of their decades-long support of our Museum,” Daniel H. Weiss, the Met’s president and CEO, said in a statement. Max Hollein, the museum’s director, added, “The reimagining of these galleries will allow the Museum to approach 20th- and 21st-century art from a global, encyclopedic, bold, and surprising perspective—all values that reflect the legacy of Oscar and Agnes.”
The couple, whom the Met called “activist collectors” in its press release, described the museum as “an exemplary guardian and presenter of artistic heritages across cultures and time.” They alluded to their longtime support of transcultural and anti-racism initiatives as a driving factor in backing the Modern wing project, saying, “Contemporary art transcends entrenched notions of borders and identities.”