… The Kennedy Center will present three multimedia performances in January and February as part of its Jason+ series which pairs Jason Moran, the Center’s Artistic … Exhibition.
The playback is physically and temporally interspersed with three freestanding installations, condensations of several defunct New York jazz clubs (the Savoy Ballroom, Three Deuces and Slugs’ Saloon) called All of this is immersive and seductive, and it is tempting to linger in the space. | STAGED: Slugs’ Saloon, 2018. Jason Moran’s first solo museum exhibition, simply titled Jason Moran, opens today (September 20) at the Whitney Museum of American Art in New York City, featuring the 44-year-old pianist and composer’s sculptures and drawings, as well as collaborations with visual artists and performances with musicians.The show runs through January 5.
One does not so much move ‘through’ the dimly lit and richly hued space as around it, over and again.The set plays out in the main gallery by way of brief but representative edits of Moran’s performances with Lorna Simpson, Adam Pendleton, Joan Jonas, Theaster Gates and others. The artist’s new works at La Virreina, Barcelona, predict that the culture industry will never be automatedLarry W. Cook Photographs the Vulnerability of Black FatherhoodThe artist’s new works at La Virreina, Barcelona, predict that the culture industry will never be automated But the final result, what Edwards and Moran dub a ‘set’ – a set list, but also a theatrical space for activation – remains captivating and vivid through its run time, with its triangulated three-channel projections inviting repeat viewing. A monochromatic film produced with Glenn Ligon (Ian Bourland is a critic and an art historian at Georgetown University in Washington, DC, USA. | This exhibition, limited in scope and thoughtfully hung, communicates the broad sweep of Moran’s sustained engagements as a pianist, composer, editor, visual artist and Artistic Director of Jazz at the Kennedy Center in Washington. Jason Moran Exhibition Premieres at the Whitney Museum of American Art “The Whitney Museum Will Present Art, Music from Jason Moran in September” “Kennedy Center Presents Three “Jason+” Performances by Jason Moran” I Not so for Jason Moran’s eponymous retrospective, which Whitney curator Adrienne Edwards originated in 2018 at the Walker Art Center. Jason Moran, Two Wings 2, 2019. During the exhibition, musicians will come to perform on a high floor, with an understanding of the basement.”Other highlights of the exhibition include a one-day-only (October 12) collaboration with visual artist Kara Walker called Jazz pianist and composer Jason Moran will make his debut at New York’s Whitney Museum of American Art this September with work that pays homage … Moran’s breaking away from Blue Note and forming Yes Records with his wife, the opera singer Alicia Hall Moran, wasn’t a matter of creative restraint. BY
Jason Moran joins artist Kara Walker for the New York debut of Katastwóf Karavan (2018), a steam-powered calliope housed in a parade wagon that will be installed and activated outside the museum for a one-day-only presentation. There are plenty of diversions, including an entry corridor fitted with vibrant works in black and blue on paper, the pigmented traces of Moran’s hands moving over his keyboard.
All rights reserved. Within these sculptures, the exhibition will feature a regular concert series called “The artist David Hammons once said to me during a dinner party: ‘Jazz should happen on a high floor … in the afternoon,’” Moran said in a press release. Jason Moran is overseen at the Whitney by Adrienne Edwards, the Engell Speyer Family Curator and Curator of Performance, who originated the show at the Walker. He is a contributing editor of At Friends Indeed, San Francisco, the artist mines European and indigenous American sources to form a new abstract languageAt Capitain Petzel, Berlin, the artist pays homage to writers such as Jane Austen and James JoyceThe artist’s current exhibition at Weiss Berlin is a nuanced critique of the notion of Black masculinity‘FIVE’, an online exhibition curated by artist Nina Chanel Abney, assembles moving-image works around ‘anxiety, stillness, isolation, escapism and fear’ The artist’s ambitious fourth studio album is a genre-bending journey of defiance and radiant elationA retrospective of the Japanese artist's work at Louisiana Museum, Humlebæk, sheds new light on his merging of the biological and the artificial2020Solidarity/Between Bridges is selling artist-made posters to raise funds for the city’s beleaguered clubs, performers and organizersIn the author’s debut novel, ‘the threat of a sharp edge is on every page’ A pop-up DIY exhibition across 400 homes became an unexpectedly timely evocation of resilience and loss‘Love, Desire, Death’ at the National Gallery, London, brings together six late works that pose questions about our current worldAt Friends Indeed, San Francisco, the artist mines European and indigenous American sources to form a new abstract languageThe late US photographer challenges perceptions of African Americans in a two-part series
BY Installation view of Jason Moran (Whitney Museum of American Art, New York, September 20, 2019–January 5, 2020). While this seems plainly true, it is rare that such connections are translated to the white cube without losing something along the way.Not so for Jason Moran’s eponymous retrospective, which Whitney curator Adrienne Edwards originated in 2018 at the Walker Art Center. Candice Nembhard The tour begins at 5 pm, with a pre-tour wine and cheese reception from 4–5 pm in the Laurie M. Tisch Education Center. Photograph by Ryan Lowry. Edwards had already included Moran’s work to great effect in her landmark exhibition ‘Blackness in Abstraction’ (2016), and at the 2017 Performa Biennial, where he shared the stage with Julie Mehretu.
These sessions, minus the smoke, happen every night here in New York. Some have pointed to forms such as blues, jazz and hip-hop as not only the subject matter or catalyst for much diaspora art, but as a basis for critique that ruptures formal boundaries and ushers in new ‘breaks’ and resonances.
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