Wendy Vogel’s curated section at Volta NY reminds us that we carry our identities with us always — even inside the artificial environment of an art fair.
A solitary figure standing against the far wall of the gallery, Sable Elyse Smith says: “My father was a drug dealer and loved me.”
The Museum of Contemporary African Diasporan Arts has long dedicated itself to serving as a home for early-career artists exhibiting in New York City. The institution extends this commitment with its current exhibition, Vision Quest.
Recently, I received a press release from the Brooklyn’s Museum of Contemporary African Diasporan Arts (MoCADA) heralding their new show, Saying No: Reconciling Spirituality and Resistance in Indigenous Australian Art. My first reaction was astonishment. I didn’t understand how Australian Aboriginals fit into the mission of an institution concerned with the African diaspora?
A few weeks ago, the Museum of Contemporary African Diasporan Art (MoCADA), debuted a new television series. I reviewed the debut of MoCADA TV but Hyperallergic’s editor and I continually had a back-and-forth about the usefulness of TV as a medium, and the fact that this pioneering move on part of the museum could open a lot of new discussions.
With all of these dialogues lingering, I caught up with Kalia Brooks, director of exhibitions at MoCADA, to get a better idea of the series’ aims.
The Museum of Contemporary African Diasporan Art has launched a new half-hour program, MoCADA TV, on Brooklyn’s BCAT TV network, an arts-focused public channel.
When the Verge art fair launched Verge Brooklyn, many Brooklyn galleries were peeved that the DUMBO-based event would take away from local galleries scenes. Why would they have to pay to be in an art fair in their own borough when Armory week was the only time they could get out of town collectors to their spaces? Even if the Verge Brooklyn fair began with a bumpy start it was able pull of something no one has tried before, an art fair in Brooklyn