Tag Archives: Hilton Als

ALICE NEEL, UPTOWN

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Last year Hilton Als curated an exhibition of paintings and drawings by Alice Neel for David Zwirner in New York City (the show then traveled to Victoria Miro in London). The catalogue of paintings is accompanied by Hilton’s subjective texts on art, race, gender, Neel, and the city.

“In ALICE NEEL, UPTOWN, Als brings together a body of paintings and works on paper of African-Americans, Latinos, Asians, and other people of color for the first time. Highlighting the innate diversity of Neel’s approach, the selection looks at those whose portraits are often left out of the art-historical canon and how this extraordinary painter captured them…

“A contemporary and personal approach to the artist’s oeuvre, Als’ project is ‘an attempt to honor not only what Neel saw, but the generosity of her seeing.’ ”*

 

HILTON ALSALICE NEEL, UPTOWN,  forward by Jeremy Lewison (New York: David Zwirner Books, 2017). Available now.

davidzwirnerbooks.com/alice-neel-uptown

From top: Alice Neel, Georgie Arce, 1955. Alice Neel, Uptown layout (Alice Neel, Call Me Joe, 1955). Alice Neel, Mercedes Arroyo, 1952 (detail). Images courtesy of David Zwirner.

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HILTON ALS IN CONVERSATION

“We’re staying together for the kids’ sake.

“That’s the first lie of the family. It’s never for the kids’ sake. Why has no mother, including Hamlet’s own, not admitted to her libidinal impulses, saying this crazy-ass dick or uncontrollable freak works for me, I could never do what he does in the world, be so out of control, terrible and boundaryless, I’m a woman, confined by my sex, prohibited from acting out because other lives, my children’s lives, depend on me, but still there’s my husband acting out for me, what a thrill as he crashes against the cage of my propriety.” – Hilton Als*

The great New Yorker critic and astringent profiler of Dorothy Dean and André Leon Talley will be in town this week for a wide-ranging public conversation with USC dramatic arts dean David Bridel and poet Mary-Alice Daniel.

 

THE FAIRINGS OF A LITERARY MIND—A CONVERSATION WITH HILTON ALS, Wednesday, February 7, at 7 pm.

JOYCE J. CAMMILLERI HALL, USC, 3620 McClintock Ave, Los Angeles.

visionsandvoices.usc.edu/event

* Hilton Als, “Tristes Tropiques,” in White Girls (San Francisco: McSweeney’s, 2013), 23.

Hilton Als.

FOR DEREK WALCOTT

“What better way is there to memorialize a writer than to read what he has written and remember who he was in all those worlds of words he was brave and confident enough to imagine in the first place?” Hilton Als on Derek Walcott

Join Elizabeth Alexander, Robert Antoni, Carolyn Forché, Lorna Goodison, Jamaica Kincaid, Karl Kirchwey, Yusef Komunyakaa, Glyn Maxwell, Caryl Phillips, and Als in this celebration and remembrance of the late poet.

 

A CELEBRATION OF DEREK WALCOTT, Thursday, January 18, at 7:30 pm.

KAUFMANN CONCERT HALL, 92ND STREET Y, 1395 Lexington Avenue, New York City.

92y.org/a-celebration-of-derek-walcott

Derek Walcott. Photograph by Horst Toppe, Hulton Archive/Getty Images.

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JAMES BALDWIN AND RICHARD AVEDON — NOTHING PERSONAL

“It has always been much easier (because it has always seemed much safer) to give a name to the evil without than to locate the terror within. And yet, the terror within is far truer and far more powerful than any of our labels: the labels change, the terror is constant. And this terror has something to do with that irreducible gap between the self one invents—the self one takes oneself as being, which is, however and by definition, a provisional self—and the undiscoverable self which always has the power to blow the provisional self to bits. It is perfectly possible—indeed, it is far from uncommon—to go to bed one night, or wake up one morning, or simply walk through a door one has known all one’s life, and discover, between inhaling and exhaling, that the self one has sewn together with such effort is all dirty rags, is unusable, is gone: and out of what raw material will one build a self again? The lives of men—and, therefore, of nations—to an extent literally unimaginable, depend on how vividly this question lives in the mind. It is a question which can paralyze the mind, of course; but if the question does not live in the mind, then one is simply condemned to eternal youth, which is a synonym for corruption.” — James Baldwin, from his essay “Nothing Personal”

Taschen’s NOTHING PERSONAL reprints the landmark 1964 collaboration between Richard Avedon and James Baldwin, and includes a supplementary booklet with outtakes, correspondence, and a new essay by Hilton Als.

A gallery exhibition of Avedon’s work from from book will be up at Pace MacGill until mid-January.

 

NOTHING PERSONAL—RICHARD AVEDON and JAMES BALDWIN

Taschentaschen.com/richard_avedon_james_baldwin_nothing_personal

RICHARD AVEDON—NOTHING PERSONAL, through January 13.

PACE MACGILL, 537 West 24th Street, New York City.

pacemacgill.com/show

avedonfoundation.org/nothing-personal-1964-essay-by-james-baldwin

See: aperture.org/vision-justice-online-nothing-personal/

 

From top:

Pace MacGill installation view.

Original book cover, Atheneum, 1964.

Richard Avedon, Julian Bond and members of the Student Nonviolent Coordinating Committee, Atlanta, Georgia, March 23, 1963, from Nothing Personal.

Richard Avedon, Dorothy Parker, from Nothing Personal. Avedon’s portrait of the great American writer, wit, and original member of the Algonquin Round Table was taken in 1958.

Nothing PersonalNothing PersonalCover of Richard Avedon and James Baldwin, Nothing Personal, 1964

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Spread from Richard Avedon and James Baldwin's Nothing Personal, 1964

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