717:, saw the exhibition as an overly-ambitious attempt at referencing particular histories and racial stereotypes. Its aesthetic qualities, in her eyes, did not always reinforce the artistic sincerity of the work; Gronlund found more melancholic artists to be more genuine in their uses of a "craft aesthetic." Writing for
721:, Nick Stillman also takes note of the exhibition's identity-based conceptual work which goes beyond the creation of iconic imagery. The absence of and working around iconic "black" images reflects the curators' engagement with the "post-black" in this exhibit without a centralizing organizational principle.
147:
in 2001, I had both privately and publicly acknowledged that there might no longer be a need for me to organize group shows featuring the works of emerging black artists." While Golden had felt her project had made important strides in addressing a racially oblivious art world composed mainly of
710:
Frequency is often characterized in relation to the Studio Museum's preceding exhibition
Freestyle. Described as veering "between the flashy and the subdued," the exhibition grappled with Black identity through a complex interplay between past and present. Melissa Gronlund, writing for
127:," is one of five "F" themed exhibitions alongside Flow, Fore, and Fictions. While curators Golden and Kim point out that Frequency was not "Freestyle II," the organization of artists under the umbrella of Black identity engages with "
139:
Following
Freestyle's success in 2001, Golden felt at first that the necessity of curating a show whose work featured emerging black artists was not as immediate. She states in the
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further went on to score gallery positions and art-star status, creating expectations of similar celebrities in the following exhibition.
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Liberation of T.O.: Ain't no way I'm go'n in back ta' work fa' massa in dat darn field
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exposed racial tensions and issues of segregation anew. It was in this context that
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Battle for the break of dawn ...it goes on, an on, an on, an on ...,
571:
Drawings, paintings, and sculpture from
Shinique Amie Smith:
519:
Michael
Queenland's sculptures, mixed-media installation:
293:
Rashawn
Griffin's sculpture, painting, video, and spaces:
648:
Appetite for
Destruction: Top 40 Best Selling Albums Ever
282:
Installation and multimedia environments by Kianga Ford:
446:
Allegory of Some
Bombshell Girls––only in flamingo grass
16:
Art exhibition of contemporary Black works (2005–2006)
390:
positioning (as opposed to passing and posing) vol.3
878:. New York, NY: The Studio Museum in Harlem. 2005.
455:Karyn Olivier's mixed-media and installation work:
156:was organized and carried out. Artists featured in
148:white graduate-level educated artists, events like
115:from November 9, 2005 - March 12, 2006. Curated by
97:
82:
72:
64:
56:
350:Conversations Wit de Churen: Da Young and Da Mess
355:Multimedia installation by Nzuji De Magalhães:
131:" art similarly to the Freestyle exhibition.
8:
555:Landscape Playground (It Ain't Hard to Tell)
275:Photography and videography by Isaac Diggs:
51:
418:Performance, sculpture, and photography by
304:Photographs, sculpture, and web project by
233:Zoë Charlton's drawings and installations:
143:brochure: "After the tremendous success of
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545:Photographs, films, and performance from
172:'s video art and documentary film work:
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783:"Frequency: Studio Museum in Harlem"
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666:Love Before the Colonization of Mars
652:Appetite for Destruction: Expulsion
564:Installation by Kwabena Slaughter:
534:Marc André Robinson's "paintings":
506:CEO Portrait (Talented 10th Series)
465:Ridgewood Line (BQT Ghost No. 6064)
699:Red Pop Luncheon, La Folie du Jour
678:'s sculpture and assemblage work:
587:Exhibit A: Cardinal Francis Arinze
14:
529:Untitled (Derelict Cult Compound)
521:Untitled (Radical Since 1774) #2
197:; Monkey head with an icy grill,
329:Doppelganger II (Body and Soul)
318:The Theory of the Leisure Class
504:Drawings by Robert A. Pruitt:
1:
781:Stillman, Nick (2006-02-11).
660:'s paintings and sculptures:
595:Inauguration of the Solicitor
299:to bring love/terrible things
409:Burning Giraffe: Love part 4
384:Tape images and outlines by
235:There Goes the Neighborhood,
219:Sculpture and assemblage by
357:Eta: A Proverb by my Mother
288:The Complex, So Cal Multi-4
205:Photographs and video from
947:
619:Multimedia paintings from
386:Lester Julian Merriweather
264:Collage and assemblage by
631:wrestling series), 2005;
591:Meeting at the Crossroads
403:Dioramas and collages by
37:40.8084778°N 73.9475333°W
662:The Abduction of Bacchus
639:wrestling series), 2005.
525:SHAKER PICTURE: Dry Sink
926:Events in New York City
514:Pretty for a Black Girl
461:Bench (Seating for One)
174:Dirrrty Harriet Tubman,
113:Studio Museum in Harlem
77:Studio Museum in Harlem
42:40.8084778; -73.9475333
931:21st century in Harlem
413:Untitled (Love part 3)
379:Untitled (an audience)
255:; The Swimming Lesson,
119:and associate curator
633:Instant Gratification
610:Basketball and Chains
573:Bale Variant No. 0006
536:Velocity of Barbarism
334:"Quilt paintings" by
323:Film by Wayne Hodge:
921:African-American art
109:Frequency Exhibition
52:Frequency Exhibition
743:Gronlund, Melissa.
551:High Seasoned Brown
495:Car Wash Mediations
310:riffs on real time,
270:African Ceremonies,
170:Michael Paul Britto
53:
33: /
706:Critical reception
670:The Centaur's Kiss
658:William Villalongo
602:Hank Willis Thomas
239:; Dress Rehearsal,
211:Scratching Chance,
787:The Brooklyn Rail
719:The Brooklyn Rail
637:Brawling Spitfire
629:Brawling Spitfire
614:Winter in America
540:Crusade Fragments
457:Whispering Domes,
442:Xiomara De Oliver
259:; Dead White Men,
150:Hurricane Katrina
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621:Mickalene Thomas
491:Jefferson Pinder
420:Demetrius Oliver
363:Rodney McMillian
121:Christine Y. Kim
68:November 9, 2005
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577:The Giving Tree
547:Xaviera Simmons
348:'s video work:
336:Sedrick Huckaby
295:Untitled (room)
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60:March 12, 2006.
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28:73°56′51.12″W
25:40°48′30.52″N
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790:. Retrieved
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760:. Retrieved
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179:Drawings by
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916:2006 in art
911:2005 in art
745:"Frequency"
482:, 2004-05;
346:Kalup Linzy
189:; Blackman,
181:Nyame Brown
40: /
900:Categories
792:2019-11-19
762:2019-11-12
725:References
635:(from the
627:(from the
542:, 2004-05.
342:, 2003-05.
266:Mike Cloud
251:; Tip Toe,
135:Background
129:Post-Black
876:Frequency
757:0962-0672
489:Films by
398:Untitled,
312:2002-05;
221:Nick Cave
158:Freestyle
154:Frequency
145:Freestyle
141:Frequency
125:Freestyle
697:, 2005;
682:, 2005;
668:, 2004;
664:, 2005;
650:, 2005;
612:, 2003;
608:, 2004;
593:, 2003;
589:, 2005;
575:, 2005;
566:Sideview
557:, 2005;
553:, 2004;
538:, 2005;
527:, 2005;
523:, 2005;
512:, 2005;
508:, 2004;
497:, 2005;
484:Concrete
478:, 2005;
463:, 2003;
448:, 2005;
430:, 2004;
411:, 2005;
400:2002-03.
396:, 2002;
394:Untitled
392:, 2005;
377:, 2004;
373:, 2003;
369:, 2004;
367:Untitled
327:, 2004;
316:, 2004;
314:Grounded
297:, 2005;
286:, 2005;
91:New York
83:Location
65:Duration
701:, 2005.
686:, 2005.
672:, 2005.
654:, 2005.
616:, 2005.
597:, 2005.
579:, 2005.
568:, 2005.
561:, 2004.
531:, 2005.
516:, 2005.
486:, 2004.
480:Because
476:History
467:, 2004.
452:, 2004.
438:, 2004.
436:Stacked
415:, 2005.
381:, 2003.
359:, 2005.
352:, 2005.
331:, 2005.
320:, 2004.
301:, 2004.
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279:, 2002.
882:
755:
749:Frieze
714:frieze
625:Rumble
459:2001;
434:2005;
428:Tracks
426:2004;
247:; WOO,
243:; Spy,
501:2005.
432:Nest,
424:Till,
371:chair
277:Bling
272:2005.
261:2005.
176:2005.
164:Works
73:Venue
880:ISBN
753:ISSN
695:Turf
407:II:
257:2004
253:2005
249:2005
245:2005
241:2005
237:2004
227:2004
213:2005
199:2004
195:2004
191:2004
187:2005
107:The
98:Type
57:Date
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