Artist Juan Roberto Diago will be in conversation with curator and founding Director of the Afro-Latin American Research Institute at the Hutchins Center, Alejandro de la Fuente, about his retrospective exhibition currently on view at the Cooper Gallery. Seating is limited and on a first come, first served basis.
Please join us as we celebrate the opening of our Spring 2017 Exhibition, Diago: The Pasts of this Afro-Cuban Present!
Boston-based artist, Dell M. Hamilton, responds to our Carrie Mae Weems exhibition with an intriguing in-gallery performance, engaged with the social and geopolitical constructions of memory, gender, race, language and history.
Blues/Blank/Black incorporates key texts from two of Toni Morrison’s most well known and widely taught novels: The Bluest Eye and Beloved. In addition the performance also conjures figures from American fairytales (goldilocks, Brer Rabbit) and Latin American (La Sucia & La Llorona) folkloric traditions. Blues/Blank/Black also juxtaposes these elements with the invocation of some of the names of black women who have died as a result of police violence. Through gesture, color and repetition, Blues\Blank\Black interrogates trauma and its afterlives as a way of accounting for intergenerational memory, madness, haunting and erasure.
Very limited entry:
This is a live performance (~ 25/30 min) that moves through the gallery.
Followed by a reception.
A Talk by Carrie Mae Weems
In conjunction with our exhibition, CARRIE MAE WEEMS: I once knew a girl... on view at the Cooper Gallery through January 7th, 2017, please join us for a presentation by Carrie Mae Weems at the Brattle Theater. Limited Seating, Tickets Required.
THIS EVENT IS SOLD OUT.
Sundays at the Cooper Gallery:
A series of talks on the practice and process of African American Art
Featured guest, Nikki A. Greene, Assistant Professor of the Arts of Africa and the African Diaspora in the Art Department at Wellesley College, in conversation with curator Vera Ingrid Grant on the strategies of artist Carrie Mae Weems
Please join us September 19th, 2016 at 6 pm for our Opening Reception! Featuring our newest exhibition for Fall 2016, Carrie Mae Weems: I once knew a girl...
“It’s a fantastic film that really lays
bare a very powerful interaction of art and jazz”
This short-form documentary by RoundO Films follows the development and culmination of Looks of a Lot, a collaborative multimedia work by jazz pianist/composer/performer Jason Moran, commissioned by the Chicago Symphony Orchestra in 2014. Collaborators with Moran include the Bandwagon (featuring drummer Nasheet Waits and bassist Tarus Mateen), visual artist Theaster Gates, reedist Ken Vandermark, musician Katie Ernst, and the Kenwood Academy High School Jazz Band.
2014, DCP, 61 Minutes. Courtesy of Luhring Augustine and RoundO films.
The screening will be followed by a discussion between the film's Executive Producer Radiclani Clytus and the audience moderated by the Ethelbert Cooper Gallery's Director, Vera Grant.
This is our FINAL event as part of our installation, Art of Jazz: FORM/PERFORMANCE/NOTES, so please join us afterwards for our closing reception!
Read more at Luhring Augustine about our event + Jason Moran's upcoming solo show!
2 hours 41 mins
Directed by Clint Eastwood
Eastwood produces and directs Bird, a film burnished with the magic of that 1946 concert encounter between legend and future legend and honored with an Academy Award for Best Sound in its spellbinding recreation of a man and his music. Like jazz itself, Bird rings with counterpoints and embellishments. Past and future overlap as the film explores Yardbird's soaring skill and destructive excesses. Charles “Bird” Parker was one of the great fountainheads of jazz, a creator of bebop whose improvisations and joyful discoveries on the saxophone created a sound that is absolutely distinctive. He stood as a bridge between the swing era and the cool, modern jazz of the 1950s, and even as his career collapsed into disarray, his influence continued to grow. At the end, Bird was denied a cabaret license because of his drug use, and couldn’t even play in Birdland, the famous club named after him. But wherever and whenever he did play, other musicians gathered, because he taught them what they were working for. - Roger Ebert
Thelonious Monk: Straight No Chaser
1 hour 30 mins
Directed By: Charlotte Zwerin
Thelonious Monk: Straight, No Chaser highlights the life of one of the most extraordinary individuals in the history of jazz. Using precious film footage shot in the late 1930s of the great pianist and composer, this film provides a special opportunity to savor the work of this one-of-a-kind musical revolutionary. This exemplary documentary about seminal jazz pianist and composer Thelonious Monk reaps the benefits of multiple blessings, including the skilled editorial hand of director Charlotte Zwerin and the patronage of executive producer (and erstwhile jazz pianist) Clint Eastwood. Most vital is the use of extensive 1968 footage, shot by Michael and Christian Blackwood, documenting the sometimes moody, sometimes puckish Monk in the studio, on tour, and off stage, which on its own would make this essential jazz viewing. “The film’s late-60’s portions, which document a European tour and also catch Monk playing in clubs and in recording sessions, are some of the most valuable jazz sequences ever shot,” writes Stephen Holden of the New York Times.
Conceptual artist Lina Viktor discusses her career as a painter, sculptor, performance artist and photographer with Vera Ingrid Grant, director of the Ethelbert Cooper Gallery of African and African American Art. Viktor creates bold images composed of blue, black, white and 24-carat gold patterns. Her striking painting, Arcadia, is featured in the Gallery’s current exhibition “Art of Jazz: Form/Performance/Notes,” which explores the intersection of jazz music and the visual arts. Arcadia’s blue hue inspired the Gallery’s wall color for “Art of Jazz.” Viktor has exhibited her work in galleries in New York City, London, Milan and Lagos, Nigeria.
The conversation is part of Sunday Afternoons at the Cooper Gallery, a series of talks on perspectives and practices in African and African American Art.
2 hours 18 mins
Directed By: Bertrand Tavernier
Jazz great Dexter Gordon plays a brilliant, self-destructive, African American musician who moves to Paris in the 1950s to find an audience more appreciative of his art--and more accepting of his race. There a young, female fan bonds with the talented musician, but even her affection may not be enough to save him from alcoholism, drug addiction and depression in this deeply human drama probing the price a great artist must pay for his gift. Round Midnight is a 1986 American-French musical drama film directed by Bertrand Tavernier and written by Tavernier
and David Rayfiel. It stars Dexter Gordon, François Cluzet and Herbie
Hancock. Martin Scorsese, Philippe Noiret and Wayne Shorter appear in cameos. The protagonist jazzman, "Dale Turner", was based on a composite of real-life jazz legends Lester Young (tenor sax) and Bud Powell (piano). While the film is fictionalized, it is drawn directly from the memoir/biography Dance of the
Infidels written by French author Francis Paudras, who had befriended Powell during his Paris expatriate days and on whom the character "Francis" is based. The film is a wistful and tragic portrait that captures the Paris jazz scene of the1950s.
Mingus: Charlie Mingus
Directed By: Thomas Reichman
This documentary records an especially painful moment in Mingus’s life when he was forcibly evicted from his apartment in New York City. Scenes from the apartment are intercut with footage of Mingus and his sextet performing at a little club in Peabody, Massachusetts called Lennie’s-on-the-Turnpike. The combo features Mingus on bass, Dannie Richmond on drums, Charles McPherson on alto saxophone, John Gilmore on tenor saxophone, Lonnie Hillyer on trumpet and Walter Bishop, Jr., on piano. The music includes parts of “All the Things You Are,” Take the ‘A’ Train” and “Secret Love.”
The Last of the Blue Devils
1 hour 30 mins
Directed by: Bruce Ricker
Kansas City jazz is a style of jazz that developed in Kansas City, Missouri and the surrounding Kansas City Metropolitan Area during the 1930s and marked the transition from the structured big band style to the musical improvisation style
of Bebop. The hard-swinging, bluesy transition style is bracketed by Count Basie who in 1929 signed with the Bennie Moten's Kansas City Orchestra and Kansas City native Charlie Parker who was to usher in the Bebop style in the 1940s.
Director Bruce Ricker's 90-minute The Last of the Blue Devils chronicles the 1979 reunion of many of the legendary players, combining interviews, vintage film footage, photos, and some inimitably swinging performances by Basie, Turner, pianist Jay McShann. “The Last of the Blue Devils is an absolute delight.” --Sam Graham
Syncopation: Short Jazz Films
1 Hour 37 Mins Directed By: Various
1. “Symphony in Black” (1935 w/ Duke Ellington and Billie Holiday) (9:36)
2. “Rhapsody in Black and Blue” (1932, w/ Louis Armstrong) (10:00)
3. “St. Louis Blues” (1929, w/ Bessie Smith) (15:41)
4. “Cab Calloway’s Hi De Ho” (1933) (10:00)
5. “Bundle of Blues” (1933, w/ Duke Ellington) (9:00)
6. “Hoagy Charmichael” (1939, w/ Hoagy Carmichael and Jack Teagarden) (10:00)
7. “Artie Shaw’s Class in Swing” (1939, w/ Artie Shaw) (10:00)
8. “Jazz A La Cuba” (1933, w/ Don Aspiazu) (5:19)
9. “Black and Tan Fantasy” (1929, w/ Duke Ellington and Fredi Washington) (19:00)
1 Hour 28 Mins
Directed by William Dieterle
Covering a quarter-century of American 'syncopated" music (Ragtime, Jazz, Swing, Blues, Boogie Woogie) from prior to WWI through prohibition, the stock-market crash, the depression and the outbreak of WWII. A romance between singer Kit Latimer, from New Orleans, and Johnny Schumacher, in which they share and argue over musical ideas ensues.
Excerpts included from The Sound of Jazz, which Fresh Sound Records calls “one of the great glorious moments on television,” this collection set contains performances from Billie Holiday, Lester Young, Thelonious Monk, the Count Basie Orchestra, and more. Also included are excerpts from a 1959 television special called Jazz From Studio 61, featuring the original Ahmad Jamal Trio with the Ben Webster Quintet. The Greatest Jazz Films Ever is an impressive and enduring collection of documents from the golden age of jazz. While the emphasis here is generally on musicianship, not filmmaking, it’s a collection that also demonstrates jazz’s close relationship to film and television in the mid-20th century.
1. The Sound of Jazz ft. Billie Holiday, Count Basie, Thelonious Monk, Jimmy Giuffre, and many others. (54 mins)
2. Jazz from Studio 61 (18 mins)
This superb collection from Spain, includes excerpts from both Jammin’ the Blues and Jazz at the Philharmonic, along with highlights from several television specials like Be Bop’s Nest—a rare Charlie Parker appearance with Dizzy Gillespie on the short-lived variety show Stage Entrance—and “The Sound of Miles Davis,” a 1959 episode of television show The Robert Herridge Theater that showcased one of Davis’ most celebrated ensembles. The Greatest Jazz Films Ever is an impressive and enduring collection of documents from the golden age of jazz. While the emphasis here is generally on musicianship, not filmmaking, it’s a collection that also demonstrates jazz’s close relationship to film and television in the mid-20th century.
1. Jammin’ the Blues (10 mins)
2. Be Bob’s Nest ft. Charlie Parker and Dizzy Gillespie (5 ½ mins)
3. Jazz at the Philharmonic (14 mins)
4. The Sound of Miles Davis ft. Miles Davis, John Coltrane, Gil Evans (~25 mins)
Please join us for this exciting event: The Black Chronicles II Symposium!
We are thrilled to present a symposium on the acclaimed exhibition, Black Chronicles II, now on view at the Cooper Gallery of African and African American Art, at the Hutchins Center for African and African American Research, Harvard University, and presented in partnership with Autograph ABP, London.
This event is located at the Thompson Room, Barker Center, 12 Quincy Street, Cambridge, MA 02138