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Art, Darling – The New York Times



Antwaun Sargent sat nursing a Negroni at Frankies Spuntino, his haunt in Brooklyn, as he described the perks of his multilayered career.

“I had dinner with Madonna,” he said on a recent Friday. “Coming of age as a gay man in Chicago in the ’90s, you can imagine, I was excited. I was obsessed with her.”

But within moments of their encounter last year, Mr. Sargent hit earth. Pulling out her iPhone, his erstwhile idol proceeded to show him artworks by Rocco Ritchie, her 21-year-old son with the filmmaker Guy Ritchie, regaling him for nearly an hour about her hopes for the boy.

“That made things real,” Mr. Sargent said. “Here was Madonna — a legend, an icon — asking for guidance, just being mom.”

It seems the pop diva had known where to turn.

Mr. Sargent, 33, a former kindergarten teacher turned artist and curator and vociferous champion of Black artists, had been appointed in January 2021 as a director at Gagosian, the blue-chip mega-gallery, with a mandate to make waves.

His first show, “Social Works,” in 2021, highlighted a multidisciplinary roster including Theaster Gates, the architect David Adjaye and the filmmaker Linda Goode Bryant, who installed a small, working farm in the gallery space. The show also highlighted Mr. Sargent’s mission: to give Black artists, who had been only haphazardly represented in leading art-world institutions, a highly visible seat at the table.

It was a mission Mr. Sargent happened to share with the cultural polymath Virgil Abloh, each bent on conveying a commitment and sense of community to artists of every stripe — painters, architects, sculptors, musicians and fashion designers.

So it was all but inevitable that Mr. Abloh, whose work encompassed fashion, music, architecture and art, would invite Mr. Sargent to curate his retrospective at the Brooklyn Museum. The show was to be a crowning event in his career — Mr. Abloh died last year after a long illness — and certainly a feather in Mr. Sargent’s cap.

Jeenah Moon for The New York Times
Jeenah Moon for The New York Times

The exhibition, “Figures of Speech,” opens on July 1, with works arranged along tables, not walls, displaying artifacts and artworks from Mr. Abloh’s archive. The show departs significantly from its first incarnation, which was on display at the Museum of Contemporary Art Chicago in 2019 and was curated by Michael Darling.

The Brooklyn installation opens modestly with a 1981 high school architectural project by Mr. Abloh and includes his early fashion drawings, artworks and clothing. It goes on to showcase items from influential collaborations with Takashi Murakami, Kanye West and Rem Koolhaas, as well as pieces from the designer’s fashion labels: Pyrex Vision, Off-White and Louis Vuitton men’s wear.

The show’s imposing centerpiece, a rustic looking schoolhouse clad in pine, is built to function as a real-life classroom offering visitors “cheat sheets” lessons, in disciplines that include industrial design, music, architecture and fashion design. “Everything in short that Virgil touched,” Mr. Sargent said. The structure will occupies 1,400 square feet of the museum’s Great Hall.

Yes, it takes up space and that is the point. “Space is the thread that connects all the work I do,” Mr. Sargent said. Space can connote power, he said. “The question is: ‘What are you going to do with that space?’”

If an artist is hoping simply to advance himself, “I’ve no interest in that,” Mr. Sargent said. “But if you are taking up space to create more space for other people, for other Black artists, I have a profound interest in that.”

Antwaun Sargent with the show’s centerpiece, a rustic looking schoolhouse clad in pine.
Nate Palmer for The New York Times

Mr. Sargent himself means to take up wide swaths of people’s consciousness. He writes prolifically and has published critical essays in The New York Times and The New Yorker, among other places. Last year he served as a guest editor of Art in America, turning the magazine’s new talent issue in May into a platform for Black critics, painters and photographers. He has published a series of house catalogs — zines, he calls them — at Gagosian.

“He has a great kind of work ethic and is a team player,” Larry Gagosian said. “He deserves the attention he’s been getting, but it’s not like he is wanting a lot of attention for himself. You’re not working with somebody who is on a constant ego trip.”

Mr. Gagosian added: “A lot of galleries have been paying attention to underrepresented artists of color. But Antwaun really pushed it much more effectively.”

Part art nerd, part crusader, Mr. Sargent has gathered the works of Black artists in two books, “Young, Gifted and Black: A New Generation of Artists” and “The New Black Vanguard: Photography Between Art and Fashion.” He continues to oversee exhibitions and publish critical commentary on, among others, Kehinde Wiley, Alexandria Smith, Nick Cave and Amanda Williams.

Ms. Williams’s show of vibrantly colorful canvases is on view through July 8 at Park & 75, a Gagosian space, one of 10 projects that Mr. Sargent will juggle this summer.

Ms. Williams’s faith in the curator is longstanding. “Antwaun will see works I’ve done and sense why I’ve arranged things the way I have, without us having to talk about its,” she said. “I trust that he knows my eye.” She is but the latest in a string of artists and designers Mr. Sargent sedulously promotes on @sirsargent, his Instagram, with close to 100,000 followers.

But it isn’t all grind. Well connected in social and fashion circles, he has popped up in the front rows of Thom Brown and Gucci shows, and dropped in at the Bottega Veneta store opening in SoHo last fall. Art is his métier, but he takes an inclusive position. He is partial to designers like Grace Wales Bonner, Raf Simons at Prada and Kerby Jean-Raymond of Pyer Moss.

Jeenah Moon for The New York Times
Jeenah Moon for The New York Times

He has modeled for GQ and was recently spotted on the trading floor of the New York Stock Exchange, his lean 5-foot-11 frame and signature cuffed Russian karakul hat rendering him visible in a crowd that included Kanye West, Megan Thee Stallion and the photographer Tyler Mitchell (a friend), all craning for a view of the Balenciaga spring 2023 show.

In the relative calm of Frankies, Mr. Sargent talked fast, fingers tracing arabesques in the air as he reminisced about the highlights of his spring social season.

Earlier this year while in Positano on the Amalfi Coast in Italy, he was invited to a party in Capri at the fabled Casa Malaparte, a Modernist villa on a high cliff and strictly off limits to the general public.

“I had no idea how I was going to get there,” Mr. Sargent said, noting that he also looked like a “broke” writer. He rented a boat and headed uncertainly for a dock marked on Google Maps with nothing but an arrow. “I had to keep telling myself, ‘It’s OK, I’m going to this crazy house that no one gets to go to.’”

He rattled on, reveling like a child in his good fortune. The evening was eye-opening. “We had dinner on the roof, and there was opera singing,” he said. “It was also the night that I realized, ‘Wow, this world — it’s not the world I come from.’”

There were other indelible moments. Arriving in March at an Oscars after-party given by Madonna and her agent, the entertainment mogul Guy Oseary, Mr. Sargent was star-struck. Sean Combs, Jessica Chastain, Robert De Niro, Kim Kardashian and “just about every name you could drop, they were there,” he said. Even the waiters were tarted up, he said, “wearing blond wigs like Madonna.”

He rocked with the crowd, moving on to a party given by Beyoncé and Jay-Z but exiting promptly at dawn to board a flight to New York. He was not about to miss his meeting that day with the artist Rick Lowe.

Nina Westervelt for The New York Times

Mr. Sargent cultivated his fierce sense of commitment early on. A Chicago native, he grew up in the notoriously blighted Cabrini-Green Homes, which have since been razed. “You know what that scenario was,” he said coolly. “You know frankly that a lot of people never made it out of there.”

That he did he owes in part to his mother, he said, who sent him to a Catholic school and managed, while working at a Walgreens, to subsidize his youthful ambitions.

“We were under-resourced,” as he put it. But his mother did not balk when he asked to join a student exchange program in Germany, reassuring him simply, “we’ll figure it out.”

Bent on a career in foreign service, he entered Georgetown University in 2007, volunteered for the Obama campaign and served as an intern with Hillary Clinton before accepting a post with Teach for America, assigned to teach reading and writing to a classroom of 30 rambunctious 4- and 5-year-olds in Brooklyn.

“I was getting up at 5:45 every day to take the C train to East New York, teaching by day and writing, partying, doing all those things that a 21-year-old does by night,” he said. He was beguiled by the art world, making gallery rounds with his friend and housemate JiaJia Fei, a digital strategist for the arts.

“We went to every possible show, to every party, to whatever was happening,” Mr. Sargent said. “When I’m fascinated, I need to meet everyone. I need to read everything.”

He determined to contribute in some way. “Writing became that way,” he said.

He was shaken at first. “Nobody likes to face a blank screen,” he said. But neither was teaching a stroll in the park.

Jeenah Moon for The New York Times

“This was not some tony Upper East Side scenario,” he said. “You had to really believe in those kids, to support them.” Children, like artists, he came to learn, “can sniff out a bad idea. They are the toughest critics. But if you are there for them, they know it.”

He is well aware that the art world may not prove as steadfast. “We’ve had moments where Black artists are ascendant in the culture, and then several years later, they’re gone,” he said. “Without any structural changes from institutions, what you have is fashion, a trend.”

He raced to keep up with his thoughts, words darting in a fusillade. “I want to make sure, yeah, yeah, yeah, that this current enthusiasm for artists of color is not just a moment,” he said.

“For me, it’s about not being the director at a gallery or the curator at a museum but about figuring out ways to have companies invest in creative communities. It’s about writing, making exhibitions — all these different ways of keeping the door open for people of color, pushing people through.”

Earnest but not solemn, Mr. Sargent paused midstream to field a text from his friend, Mr. Mitchell, who wanted his opinion on some silver eyeglass frames he planned to buy. Mr. Sargent signaled his approval, then looked up and broke into a grin. “Yeah, I’m spinning a lot of plates in the air,” he said.

Does all that energy, sustained in part by vegan protein-and-berry smoothies and a regimen of cycling, leave room for a private life? Not much, it seems. He shares an apartment in the Carroll Gardens neighborhood of Brooklyn with Ms. Fei, who is often photographed with him at art world gatherings.

“We used to say that we are each others’ selfies,” Mr. Sargent said.

They go back a dozen years. The apartment is large enough that one of the rooms doubles as a walk-in closet because, Mr. Sargent said, without a trace of embarrassment, “we have so many clothes.”

Nate Palmer for The New York Times

He remembers those years as a string of sketchily improvised celebrations. “In our 20s, we would throw these crazy parties in our backyard,” he said. There were impromptu mini film festivals. “We would have our friends bring blankets and project movies onto the wall.”

His schedule these days leaves little time for entertaining, much less romance. He recently ended a three-year relationship with a performance artist. “It’s hard in a relationship to find balance, especially when you’re in a hyper-productive moment in your career.” he said. “Right now I’m thinking it might be nice to have that moment to focus on work.”

Still, he was due for a rest. About to depart for a long weekend at GoldenEye, a luxury resort on the northern coast of Jamaica, he betrayed a touch of anxiety.

Disconnecting? Well, that was going to be an experiment. “I’ve never taken vacation, not even for four days,” he said. “I’m afraid to stay much longer.

“Already, I’m thinking, ‘Oh my God, what if I get bored?’”

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Windsor Public Library wants to show you local art while you ride your bike –



Windsor Public Library wants to showcase the city’s downtown art. It plans to have two cycling tours to show it off.

Becky Mayer, a librarian at the Windsor Public Library organized the tours. She said the main reason she wanted to do this is because people think there’s nothing to do or see in Windsor.

“I often ride my bike around and I see a lot of cool and weird stuff,” said Mayer. “So, I just thought that maybe a few people would want to join me on a weird stuff tour.”

Mayer said she’ll be bringing Betty the Bookmobile along for the journey. She said the ride will be pretty casual and if someone has a story to tell she’s happy to give them space to share.

“I’m fine with talking as well. If you want to have a silent tour, that’s also cool. Like, it’s very, very casual. Go with the flow. We’ll see what happens,” Mayer said.

The first tour starts at 6 p.m. August 16, the second tour is on August 20 starting at 10 a.m. The tours last about an hour and starts at the library’s Central Branch at the corner of Ouellette Avenue and Pitt Street.

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Youth get creative at summer art camp – Lakeland TODAY



ST. PAUL – A variety of mediums were used to create unique works of art during a week-long Youth Art Camp held at the St. Paul Visual Arts Centre, last week.

Pam Bohn, the art instructor for the art camp, said the camp gives youth the chance to not only do art but form friendships.  

“We also go outside to play and go to the park, and so it is also a day where they can make friends.”

The art camp included acrylic painting, watercolour painting, mixed media projects, and much more.

“While I facilitate the classes, [the children] are free to create as they please,” she said. “That allows those who like to do art that freedom to have different art mediums and try things that they may be unable to do at home.”

Bohn said the participating youths have enjoyed the art camps, adding, “They all get excited when they come and take their [art] home to show their parents.”

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The Hive celebrates three new exhibitions at Art Gallery of Burlington | inHalton –




Published August 15, 2022 at 2:41 pm

A special event celebrating three new exhibits is being hosted by the Art Gallery of Burlington.

The Hive is happening Saturday, Aug. 27, from 1 to 4 p.m. This free, all-ages event incorporates the organization, cooperation and energy of a beehive into an afternoon of art, activity, learning and fun.

The Hive will feature a special workshop led by Toronto’s Clay and Paper Theatre, live arts and crafts demonstrations, a screen-printing presentation, live performance, food and drink.

The event is being held in celebration of the AGB’s three new fall exhibitions:

  • The Future of Work, an exploration into how the pandemic has affected labour markets and our quality of life
  • ਨਜਰ ਨਾ ਲੱਗੇ/Nazar na lage/Knock on wood, a vibrant and meaningful interpretation on the art of rangoli by artist Noni Kaur
  • Know your Place, an exhibit of cartoon-like clay sculpture that reveal the raw emotional experiences of the artist Sami Tsang

Known for work inspired by oral traditions, folk songs, poems and fables, Clay and Paper Theatre will charm participants and audiences with their original multi-disciplinary performance-based production. Guests who wish to participate with Clay and Paper Theatre should arrive early and be ready to create.

Visitors are invited to an interactive, screen-printing demonstration led by artist Jesse Purcell and are encouraged to bring any used clothing to be transformed into a bunting display to be hung in the gallery by the artist collective Works-in-Progress.

Arts Burlington will be opening its doors to guests with arts demonstrations and the Burlington Handweavers and Spinners Guild will guide guests through a natural plant-based dying demonstration, teaching attendees what they need to know to create from home.

The AGB parking lot will be free for the day. For more information, visit the AGB website.

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