It’s hard sometimes, but I try to make it so that the [abstract] process-driven work is a kind of peaceful space because the other [political] work—with its research—is pretty grim. So, I use both to kind of balance out my brain as best I can, although I often feel a lot of anxiety. How to explain it? I need to do both in order to be a little more balanced. Because if you only do the political work, or the issue-related work, it’s pretty upsetting. — Howardena Pindell
On the occasion of Pindell’s exhibition ROPE / FIRE / WATER—comprised of a new video commissioned by The Shed, as well as new and classic works representing all facets of her art and activism—the artist will join curators Adeze Wilford and Ashley James in conversation.
HOWARDENA PINDELL IN CONVERSATION
Thursday, November 12, at 6:30 pm.
The Shed
545 West 30th Street, New York City.
Entrance on Hudson Boulevard at 11the Avenue or 33rd Street
Howardena Pindell, Rope / Fire / Water, The Shed, from top: Plankton Lace #1, 2020, mixed media on canvas, commissioned by The Shed; Rope / Fire / Water (2020) still; toys in front of Four Little Girls, 2020, mixed media; Rope / Fire / Water (2020) still; Canals / Underground Railroad, 2015–16, mixed media; Four Little Girls, 2020, mixed media on canvas; Ko’s Snow Day, 2020, mixed media on canvas; founding members of A.I.R., the first women’s cooperative art gallery, in 1974, left to right, bottom to top: Howardena Pindell, Daria Dorosh, Maude Boltz, Rosemary Mayer, Mary Grigoriadis, Agnes Denes, Louise Kramer, Loretta Dunkelman, Barbara Zucker, Patsy Norvell, Sari Dienes, Judith Bernstein, Laurace James, Nancy Spero, Pat Lasch, Anne Healy, and Dotty Attie, photograph by David Attie, taken at Dorosh’s loft, 370 Broadway, New York City, image courtesy and © the photographer and Getty Images; Slavery Memorial: Lash, 1998–99 (detail), mixed media on canvas. Images © Howardena Pindell, courtesy of the artist, Garth Greenan Gallery, Victoria Miro Gallery, and The Shed.
