Happiest Hours: “Artists in Conversation” Invite You to Eat, Drink, and Connect

How can NMWA offer a distinctive type of artist talk program, one that engages attendees, activates artwork, and highlights the personalities of the guest speakers? The new “Artists in Conversation” program engages small audiences in the galleries during intimate group happy hour events.

Artists in Conversation participants socialize over happy hour in the galleries; Photo: Francesca Rudolph, NMWA

Artists in Conversation participants socialize over happy hour in the galleries; Photo: Francisca Rudolph, NMWA

The museum invited artists Rozeal, Analia Saban, Mira Dancy, and Suzanne McClelland for a series of three “Artists in Conversation” programs highlighting their respective works featured in the contemporary exhibition NO MAN’S LAND: Women Artists from the Rubell Family Collection. In this new format, participants have time to explore the galleries, look closely at the artists’ works, enjoy food and drink, and engage in conversations with the artists and fellow attendees.

On October 18, 2016, Rozeal captivated participants in a discussion of her work Sacrifice #2: it has to last (after Yoshitoshi’s “Drowsy: the appearance of a harlot of the Meiji era). Rozeal explored the influence of American hip-hop culture clichés on Japanese culture, namely ganguro, a sub-culture fascinated with dark tans and thickly applied contrasting makeup.

Rozeal with one of her works in NO MAN’S LAND, Photo: Francesca Rudolph, NMWA

Rozeal with one of her works in NO MAN’S LAND, Photo: Francisca Rudolph, NMWA

Rozeal portrays her protagonists with natural hairstyles such as dreadlocks, knots, or Afros, whereas her villains appear more sexualized, with intricate weaves and extravagant embellishments. Brown’s sources span the gamut—from 19th century Japanese woodblock print techniques and masters to popular culture. She cited J. R. R. Tolkien’s Lord of the Rings as an inspiration for her own use of elaborate details in her work. Influenced by comedians like Bernie Mac and Rob Schneider’s Deuce Bigalow character, Rozeal often incorporates Easter Eggs in the form of hidden, humorous references. She revealed, “I usually end up laughing quite a bit when I make these paintings.”

Analia Saban shares her work with attendees; Photo: Emily Haight, NMWA

Analia Saban shares her work with attendees; Photo: Emily Haight, NMWA

On November 11, 2016, Analia Saban introduced her works Acrylic in Canvas and Acrylic in Canvas with Ruptures: Grids. “While working on my MFA at the University of California in Los Angeles, I was curious why painting received more attention than sculpture,” explained Saban. By using acrylic and canvas in unexpected ways, she said, “My artwork opens up dialog about the boundaries between these two mediums.” Saban amused attendees with anecdotes about her trial-and-error artistic process. She recounted one night when a sculpture “exploded” and flooded her apartment with acrylic paint.

Join us for the delightful opportunity to talk with not just one—but two—NO MAN’S LAND artists in the same evening. On Tuesday, December 13, 2016, Mira Dancy and Suzanne McClelland will converse with small groups about their respective backgrounds, artistic process, and works. Find out what inspires McClelland’s large abstracted canvases and Dancy’s neon nudes. Reserve your spot today for the upcoming “Artists in Conversation” happy hour at the National Museum of Women in the Arts.

—Olivia Lussi is the fall 2016 education intern at the National Museum of Women in the Arts.

NO MAN’S LAND: Charismatic Canvases

Contemporary large-scale paintings and sculptural hybrids are on view in NO MAN’S LAND: Women Artists from the Rubell Family Collection. The exhibition imagines a visual conversation between 37 women artists from 15 countries exploring images of the female body and the physical process of making. Artists Natasja Kensmil, Cecily Brown, and Suzanne McClelland test the expressive boundaries of painting.

Natasja Kensmil, Desperate Land, 2004; Oil on linen; Rubell Family Collection, Miami

Natasja Kensmil, Desperate Land, 2004; Oil on linen; Rubell Family Collection, Miami

What’s On View?

Natasja Kensmil’s Desperate Land, 2004

Ominous themes of the human condition and the power of history are on view in painting by Natasja Kensmil (b. 1973, Amsterdam). Her somber colors and craggy brushwork reflect the dark nature of connections between religion, mythology, and power.

Kensmil created a series of work based on the Romanov family. In Desperate Land, she portrays the Russian mystic Rasputin in the center wearing a pointed hood, surrounded by followers. She obscured Rasputin’s features, allowing the scene to stand as an emblem for zealous fraternal organizations. Kensmil’s multilayered painting style evokes shadows and discord.

Cecily Brown, Service de Luxe, 1999

Although paintings by Cecily Brown (b. 1969, London) appear to combine elements of abstract and figurative painting, she says, “I often avoid using the terms figuration and abstraction because I’ve always tried to have it both ways. I want the experience of looking at one of my paintings to be similar to the process of making the painting—you go from the big picture to something very intense and detailed, and then back again.”

Cecily Brown, Service de Luxe, 1999; Oil on linen; Rubell Family Collection, Miami

Cecily Brown, Service de Luxe, 1999; Oil on linen; Rubell Family Collection, Miami

In Service de Luxe, Brown depicts a reclining female nude. Through her loose brushwork—which she uses to call attention to the sensuous nature of oil paint itself—forms become imprecise but alluring. She says, “I think it’s almost impossible to not allude to something.”

Suzanne McClelland, Forever, 1991; Acrylic, gesso, and charcoal on canvas; Rubell Family Collection, Miami

Suzanne McClelland, Forever, 1991; Acrylic, gesso, and charcoal on canvas; Rubell Family Collection, Miami

Suzanne McClelland’s Forever, 1991

“Being trained in both, I have always loved and been attracted to abstraction in music and art,” says Suzanne McClelland (b. 1959, Jacksonville, Florida).

McClelland explores the links between audible language and its written image—in her work, letters curl around to mimic their acoustic form and reflect meaning. Beginning in the 1980s, she says, “I wanted the thoughts or the words that I had in my head, and the sounds that I heard in the city, to be subjects for my painting.”

On depictions of the female body, McClelland says, “It’s been painted and drawn and described and photographed so many times that I don’t feel the need to join in on reclaiming the female body when there’s the voice.”

Visit the museum and explore NO MAN’S LAND, on view through January 8, 2017. Reserve your spot to meet artist Suzanne McClelland at NMWA on December 13, 2016 for a special in-gallery conversation.

—Elizabeth Lynch is the editor at the National Museum of Women in the Arts.