The African Origin of Civilization exhibition features collections from west and central Africa alongside art from ancient Egypt for the first time in The Met’s history. The exhibit allows introspection of different African cultures and eras while providing a rare opportunity to appreciate the extraordinary creativity of the continent across five millennia. The Met Fifth Avenue 136, 1000 5th Ave, New York, NY.

The groundbreaking exhibition The Harlem Renaissance and Transatlantic Modernism explores the comprehensive and far-reaching ways in which Black artists portrayed everyday modern life. Through some 160 works of painting, sculpture, photography, film, and ephemera, explore the new Black cities that took shape in the 1920s–40s in New York City’s Harlem and nationwide in the early decades of the Great Migration, when millions of African Americans began to move away from the segregated rural South. The first art museum survey of the subject in New York City since 1987, the exhibition establishes the Harlem Renaissance and its radically new development of the modern Black subject as central to the development of international modern art. Featured artists include Charles Alston, Aaron Douglas, Meta Warrick Fuller, William H. Johnson, Archibald Motley, Winold Reiss, Augusta Savage, James Van Der Zee, and Laura Wheeler Waring. These artists are shown in direct juxtaposition with portrayals of international African diasporan subjects by European counterparts ranging from Henri Matisse, Edvard Munch, and Pablo Picasso to Germaine Casse, Jacob Epstein, and Ronald Moody. A significant percentage of the paintings, sculpture, and works on paper on view in the exhibition come from the extensive collections of Historically Black Colleges and Universities (HBCUs), including Clark Atlanta University Art Museum, Fisk University Galleries, Hampton University Art Museum, and Howard University Gallery of Art. Other major lenders include the Smithsonian American Art Museum and the National Portrait Gallery, with pending loans from the Schomburg Center for Research in Black Culture. The exhibition includes loans from significant private collections and major European

The Roof Garden Commission: Lauren Halsey, created a personal monument to Black lives and urban energy. Using 750 glass-fiber-reinforced concrete tiles, Halsey constructed a 22-foot-tall structure that resembles an Egyptian-style temple. Four large-scale sphinx statues with faces that are portraits of Halsey’s immediate family and her life partner stand as guardians, through which visitors can walk. The Metropolitan Museum of Art, 1000 Fifth Avenue , 82nd Street New York, NY. Runs through Oct. 22, 2023.

"In An Abstraction, the artist’s 12 paintings and 13 drawings will hang within a monumental, site-specific architecture consisting of five black triangular forms. These sculptural walls will reorder the gallery into new, unexpected spaces and extend the visual language of the exhibited works. Bringing together the artist’s Black Dada and Untitled (Days) bodies of work, the new paintings and drawings in the exhibition feature a variety of marks—spray painting, stenciled geometric forms, and expressionistic brushstrokes— to blur distinctions between painting, drawing, and photography and propose painting as a documentary and performative act. Pendleton’s new Black Dada works imbue his iconic black and white compositions with focused and saturated colors. Each of the paintings and drawings in this body of work bears one or more typographic letters from the phrase “BLACK DADA,” rendered in a sans serif font amid the artist’s gestural marks. Continually transposing and overwriting these two modes of inscription, Pendleton cultivates a living library of his own ever-evolving gestures and processes." -Press Release Excerpt

"The exhibition, presented in collaboration with the Studio Museum in Harlem, will be the artist’s first solo presentation in the United States, and features MoMA’s recently acquired work alongside a monumental wall drawing and sculptures made in response to the site at MoMA. Projects: Tadáskía is organized by Thelma Golden, Director and Chief Curator, the Studio Museum in Harlem, and Ana Torok, the Sue and Eugene Mercy Jr. Assistant Curator, Department of Drawings and Prints, MoMA, with the assistance of Kiki Teshome, Curatorial Assistant, the Studio Museum in Harlem." - Excerpt from Press Release.

"Miles McEnery Gallery is pleased to announce In Jubilant Pastures, an exhibition of new paintings by Detroit-based artist Conrad Egyir, on view 5 September through 26 October. Accompanying the exhibition is a fully illustrated publication featuring an essay by Charles Moore. In Jubilant Pastures, Conrad Egyir’s first solo exhibition with Miles McEnery Gallery, presents a body of eleven paintings that interrogate themes of identity and belongingness. Born in Ghana, Egyir’s exploration of self and others shines through, questioning what it means to assimilate to a new land while maintaining one’s roots. The deeply iconographic work combines religious symbols, Ghanaian visual lexicon, migration ephemera, and nods to Black contemporary and historical artists." -Press

"Spotlighting artists who have lived or maintained a studio in Brooklyn during the last five years (2019–24), The Brooklyn Artists Exhibition honors the borough’s dynamic present, storied past, and bright future. Selected by a committee led by esteemed artists Jeffrey Gibson, Vik Muniz, Mickalene Thomas, and Fred Tomaselli, participants represent a full range of disciplines, from drawing and painting to sculpture, video, installation, and beyond. Their creations tackle themes that resonate on both local and global levels—migration and memory, identity and history, uncertainty and turbulence, healing and joy. Together these works capture the vibrancy of both Brooklyn and its artists, who are bound by deep-rooted connections and a shared love of this singular place." -Press

"Transformation is the central tenet of Naudline Pierre’s practice: evolution of the self, metamorphosis of the female form, escape from our earthly existence into the luminous unknown, and material oscillations from fresco-like dry brushing to aqueous gestures. Pierre paints scenes that are ever-shifting, in states of mystery and ecstatic potentiality. Her characters’ limbs and wings extend beyond the picture plane, as if to suggest that this atmospheric world, devoid of a horizon line, continues infinitely. Pierre transforms and reinvigorates disparate art historical references that span centuries, pointedly looking back to artists who did not and could not imagine her as their viewer, yet share a desire to reinvent and reimagine the universe. In her newest works, Pierre references Baroque and French academic painting of the 1800s, which opened the door to modernity and the heretical embrace of iconography in the service of personal, political, and radical self-expression. She draws freely from this distinctly male, European legacy of image-making, forming an intergenerational line between artists of radically different backgrounds to refashion historical motifs for a new audience."

"American Sublime, Sherald’s first solo exhibition at a New York museum, considers the powerful impact of her paintings on contemporary art and culture while positioning her squarely within the art historical tradition of American realism and figuration. In her intentional privileging of Black Americans as her subjects, she extends that tradition to include a population who has historically been omitted from portraiture and representation. Sherald has described her paintings of everyday people as a more expansive vision of interiority and selfhood." -Whitney Museum of Art (2024)