{"id":1896,"date":"2023-07-17T14:31:19","date_gmt":"2023-07-17T06:31:19","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1896"},"modified":"2023-07-17T14:31:19","modified_gmt":"2023-07-17T06:31:19","slug":"in-the-baltimore-museum-of-arts-hip-hop-exhibition-black-women-artists-shine-bright-like-a-diamond","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-the-baltimore-museum-of-arts-hip-hop-exhibition-black-women-artists-shine-bright-like-a-diamond\/","title":{"rendered":"In the Baltimore Museum of Art\u2019s Hip-Hop Exhibition, Black Women Artists Shine Bright Like a Diamond"},"content":{"rendered":"

In\u00a0Missy Elliott<\/a>\u2019s 2001 gargantuan worldwide hit song \u201cGet Ur Freak On,\u201d the rap icon rightfully asserts her dominance and opens with, \u201cMissy be puttin\u2019 it down, \/ I\u2019m the hottest \u2019round, \/ I told y\u2019all mother\u2014, \/ y\u2019all can\u2019t stop me now\u2026\u201d With these immortal words, Missy Elliott boasts of a lyrical confidence and demonstrates how Black American women are the co-architects of hip-hop, despite their frequent erasure and appropriation.<\/p>\n

It\u2019s here, in the early 2000s, where, \u201cThe Culture:\u00a0Hip Hop and Contemporary Art in the 21st Century<\/a>,\u201d a comprehensive new exhibition at the\u00a0Baltimore Museum of Art<\/a>, examines the hip-hop canon, going beyond the music to look at how this global billion-dollar genre has indelibly transformed contemporary art, culture, technology, fashion, and daily life. Yet, Black American women\u2019s lyrical, cultural, sartorial, and aesthetic innovations in hip-hop, from MC Lyte to Missy Elliott to Megan Thee Stallion, are the blueprint.<\/p>\n

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An institutional collaboration between the BMA and the Saint Louis Art Museum, organized by four women co-curators\u2014Asma Naeem, Gamynne Guillotte, Hannah Klemm, and Andr\u00e9a Purnell\u2014\u201cThe Culture\u201d immerses viewers into the world of hip-hop with close to a hundred works spanning painting, drawing, photography, sculpture, video, and installations. Divided into six sections (Language, Brand, Adornment, Tribute, Ascension, and Pose), the resulting show is an expansive and multi-sensory experience. A hypnotizing soundscape created by Baltimore-based musicians\u00a0Abdu Ali\u00a0and\u00a0Wendel Patrick<\/a>\u00a0sonically welcomes visitors, featuring rap royalty like Public Enemy and Ms. Lauryn Hill.<\/p>\n

\u201cThe Culture\u201d venerates the hip-hop zeitgeist of the past 50 years, and how the genre shattered white establishment cultural norms. \u201cFor many visual artists, hip-hop has enabled a radical interrogation of such previously stable and homogeneously white aspects of art history and culture as strategies of representation, genius, and who is the beholder,\u201d Naeem, the BMA\u2019s recently appointed director, told\u00a0ARTnews<\/em>.<\/p>\n

Nearly 90 artists are included in the exhibition, but it\u2019s acclaimed Black women artists including\u00a0Carrie Mae Weems<\/a>, Tschabalala Self, Lauren Halsey, Jordan Casteel, and Nina Chanel Abney, who exalt Black femininity, beauty rituals, style, sexuality, and of course, queendom, in their works, and provide the exhibition\u2019s most Black feminist moments.<\/p>\n

Both Self and Weems depict Black girlhood and womanhood within a hip-hop context.\u00a0Self\u2019s captivating, collaged painting\u00a0Setta\u2019s Room 1996\u00a0<\/em>(2022) features a Black teen girl (inspired by the artist\u2019s sister Princetta) in a hyper-feminine polka dot outfit, holding a landline phone receiver with fancy yellow nails. A poster of Lil\u2019 Kim\u2019s explosive 1996 debut album\u00a0Hard Core\u00a0<\/em>hangs on a pink wall. Self, who investigates the Black female figure and its complicated meanings in society, illustrates the over-sexualized tropes Black women face, and its expectation on Black girls\u2019 innocence.<\/p>\n

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From left: Carrie Mae Weems,\u00a0Anointed<\/em>, 2017. Texas Isaiah and Ms. Boogie,\u00a0Pelada: Chapter II<\/em>, 2021.<\/span>FROM LEFT: \u00a9CARRIE MAE WEEMS\/COURTESY THE ARTIST AND JACK SHAINMAN GALLERY; \u00a9TEXAS ISAIAH AND MS. BOOGIE\/COURTESY THE ARTISTS<\/cite><\/figcaption><\/figure>\n<\/div>\n

In the Adornment section, Weems crowns Mary J. Blige, The Queen of Hip-Hop Soul, in\u00a0Anointed\u00a0<\/em>(2017), where Blige seems both victorious and vulnerable. Originally the photograph appeared in a collaboration between the two icons for\u00a0W<\/em>\u00a0magazine\u2019s Art issue<\/a>\u00a0six years ago, recreating Weems\u2019s \u201cThe Kitchen Table Series\u201dand \u201cSlow Fade to Black\u201d series. Weems places Blige, seen in profile as she is being crowned against a deep red tint, in the pantheon of Black women icons alongside Eartha Kitt and Nina Simone. The red pigment signifies power, but also blood, in a way, as Blige has, in a way, shed blood and candidly sung about grown woman heartbreak, divorce, and empowerment in her music.<\/p>\n

Similarly, in the Tribute section, Blige\u2019s albums\u00a0My Life\u00a0<\/em>and\u00a0Share My World\u00a0<\/em>(in CD form)along with other hip-hop artifacts are consecrated in Texas Isaiah\u2019s altar-like installation\u00a0Untitled\u00a0<\/em>(2023), and his collaborative portrait, Pelada: Chapter II (2021), with Black Latina trans rapper Ms. Boogie, who offers an intimate gaze, reaffirms and makes space for Black trans folks who also contribute to hip-hop.<\/p>\n

The Adornment section continues with Halsey\u2019s sculptural piece\u00a0auntie fawn on tha 6\u00a0<\/em>(2021), featuring rows of rainbow-hued bundles of synthetic hair. Halsey draws upon the intimate relationship between Black women and our hair, and beauty supply stores as a communal Black women\u2019s space (despite frequent surveillance and hostility from East Asian business owners). Lil\u2019 Kim famously started the bright wig trend in the mid \u201990s, revisited by Nicki Minaj, Cardi B, and other rap girls in the 2010s.\u00a0Dionne Alexander, the inventive hairstylist behind Lil\u2019 Kim\u2019s custom wigs from that era, has recreated a few technicolor wigs for the exhibit, which featured stenciled luxury brand logos.<\/p>\n

Including Alexander\u2019s visionary hairstyling in \u201cThe Culture\u201d is imperative because glam squads (mainly Black creatives and primarily Black women) were foundational to the image-making of Lil\u2019 Kim, Foxy Brown, Eve, and other rap queens, as the internet exploded in the early 2000s. Lil\u2019 Kim\u2019s make-up artist,\u00a0NZINGHA, created Lil\u2019 Kim\u2019s vibrant makeup looks and introduced her famous client to surrealist photographer David LaChapelle, whose images of Lil\u2019 Kim would later be used for the album art for\u00a0The Notorious K.I.M.\u00a0<\/em>and a 1999\u00a0Interview<\/em>\u00a0magazine cover of a nude Lil\u2019 Kim covered in Louis Vuitton logos.<\/p>\n

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Installation view of \u201cThe Culture,\u201d showing, from left, Lauren Halsey\u2019s\u00a0auntie fawn on tha 6<\/em>\u00a0(2021) and wigs by Dionne Alexander.<\/span>FROM LEFT: PHOTO MAXIMILIAN FRANZ; PHOTO MITRO HOOD\/BMA<\/cite><\/figcaption><\/figure>\n<\/div>\n

Black women fashion designers and stylists were the architects behind legendary looks worn by hip-hop queens in the \u201990s and 2000s that now appear on brands\u2019 mood boards and Pinterest pages decades later. Revered stylist\u00a0June Ambrose<\/a>\u00a0innovated Missy Elliott\u2019s (very Afro-Futurist) black vinyl balloon suit for her very first music video \u201cThe Rain.\u201d\u00a0Misa Hylton<\/a>, a renowned stylist and fashion designer who has collaborated heavily with Lil\u2019 Kim, Blige, and countless greats, designed Lil\u2019 Kim\u2019s lavender jumpsuit pasty moment that she wore to the 1999 MTV VMAs.<\/p>\n

\u201cThey call it hip-hop fashion but for me it\u2019s always been my fashion and what I love and what I gravitate to and what I celebrate,\u201d Hylton said in an interview in the exhibition\u2019s extensive catalogue, which includes contributions from over 50 other creatives, artists, and scholars who interpreted the universe of hip-hop.<\/p>\n

Kimora Lee Simmons founded Baby Phat in 1999, an essential 2000s womenswear brand that mixed sex, streetwear, and sophistication. In the Adornment section, a white cotton Baby Phat tracksuit (ca. 2000) is displayed alongside tracksuits by Wales Bonner, Willy Chavarria, Telfar, and Dapper Dan for Gucci. It\u2019s important to note that as the hip-hop economy grew exponentially in the late \u201990s, Black women magazine editors including Danyel Smith (at\u00a0Vibe<\/em>) and Kierna Mayo and Joicelyn Dingle (at\u00a0Honey<\/em>) editorialized Black women rappers and their cultural impact.<\/p>\n

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Shinique Smith,\u00a0Shortysugarhoneybabydon\u2019tbedistracted<\/em>, 2002.<\/span>\u00a9SHINIQUE SMITH\/COURTESY THE ARTIST<\/p>\n

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Several Baltimorean (born or based) Black women and Black LGBTQ+ artists bring regional authenticity to \u201cThe Culture\u201d and reveal what hip-hop personally means to them. In the Language section, Baltimore-born artist Shinique Smith\u2019s textile sculpture,\u00a0Shortysugarhoneybabydon\u2019tbedistracted\u00a0<\/em>(2002), features abstract gestures in acrylic on vinyl, a nostalgic ode to her graffiti-writing days as a youth in Baltimore during the \u201980s and \u201990s. (Smith is also working on a BMA-commissioned public mural at Lexington Market for local engagement that will extend the show\u2019s life beyond its closing this month.)<\/p>\n

In the Pose section, Baltimorean non-binary artist Amani Lewis captures the pulse of West Baltimore rapper Butch Dawson\u2019s live performance in a mixed-media portrait titled\u00a0Swamp Boy<\/em>\u00a0(2019), named after the rapper\u2019s 2018 debut EP. Lewis connects with elements of Baltimore\u2019s underground rap scene, and their canvas almost throbs from the raw energy of the crowd depicted.<\/p>\n

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From left: Murjoni Merriweather,\u00a0Z E L L A<\/em>, 2022. Megan Lewis,\u00a0Fresh Squeezed Lemonade<\/em>, 2022.<\/span>FROM LEFT: \u00a9MURJONI MERRIWEATHER\/COURTESY THE ARTIST; COURTESY THE ARTIST AND GALERIE MYRTIS<\/cite><\/figcaption><\/figure>\n<\/div>\n

Baltimore-based artists Murjoni Merriweather and Megan Lewis give Black women their flowers in their stunning works. Merriweather deifies Black American girl aesthetics\u2014braids and gold bamboo hoops\u2014in her 2022 ceramic sculpture\u00a0Z E L L A<\/em>, which is completely covered in synthetic hair hand-braided by artist.<\/p>\n

Regarding her contribution to the show,\u00a0Fresh Squeezed Lemonade<\/em>\u00a0(2022),<\/em>\u00a0Lewis stated in an interview, \u201cBlack women continuously turn lemons into lemonade.\u201d In the oil-and-acrylic painting, a young Black woman in a \u201990s updo, fresh nails, and heavy gold jewelry, with lemons serving as the backdrop, represents Black American girl-invented beauty and cultural trends, and an incessantly appropriated template in mainstream pop culture. Monica Ikegwu\u2019s oil-on-canvas diptych\u00a0Open\/Closed<\/em>\u00a0(2021) shows the Baltimore-born artist in a monochromatic brick red look in expressive moods. Ikegwu often paints contemporary Black youth grounded in realism, and in a range of emotions with saturated color compositions.<\/p>\n

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Caitlin Cherry,\u00a0Bruja Cybernetica<\/em>, 2022, installation view.<\/span>COURTESY THE ARTIST AND THE HOLE<\/cite><\/figcaption><\/figure>\n<\/div>\n

Hip-hop is infinite, it shapeshifts, and continues to be defined by Black women, especially as next-gen rap girls, like Doja Cat, Coi Leray, Rico Nasty, Glorilla, Flo Milli, and Lola Brooke, are leading us into another golden age of women in hip-hop. An electrifying representation of this new era of rap girl reign comes in the form of Caitlin Cherry\u2019s oil painting,\u00a0Bruja Cybernetica\u00a0<\/em>(2022), which depicts the City Girls, Bia, and even avatars from\u00a0The Sims 4<\/em>.<\/p>\n

Black women entertainers are in a constant state of performance to the world, even offstage, and under intense social media scrutiny, and in Cherry\u2019s own words, \u201cI consider how the history of painting has simultaneously neglected and warped images of Black femmes and how technology can stand to do the same or redeem or liberate our self-image.\u201d<\/p>\n

Out of the 90 artists in \u201cThe Culture,\u201d fewer than a third are Black women artists, which is a head-scratcher given the greater amount of Black women artists working today and visible online. What is highly evident in \u201cThe Culture\u201d is the close and intimate relationship Black women visual artists have with Black women artists in hip-hop, from Weems\u2019 coronation of Blige to Self\u2019s teen adoration of Lil\u2019 Kim, as well as Halsey\u2019s, Merriweather\u2019s, and Lewis\u2019 playful yet sanctified interpretations of fashion and beauty staples originated by Black American women in hip-hop. Black women artists in \u201cThe Culture\u201d have clearly forged a love letter to Black women in hip-hop, revering them as the blueprint.<\/p>\n

\u201c<\/em>The Culture<\/em><\/a>\u201d is on view through July 16, 2023 at the Baltimore Museum of Art and will travel to the\u00a0<\/em>Saint Louis Museum of Art<\/em><\/a>\u00a0(SLAM) from August 19, 2023 to January 1, 2024; the Schirn Kunstalle Frankfurt in Germany (February 22\u2013May 26, 2024); the Cincinnati Art Museum in Ohio (June 28\u2013September 29, 2024); and the Art Gallery of Ontario in Toronto (fall 2024).<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

In\u00a0Missy Elliott\u2019s 2001 gargantuan worldwide hit song \u201cGet Ur Freak On,\u201d the rap icon rightfully asserts her dominance and opens with, \u201cMissy be puttin\u2019 it down, \/ I\u2019m the hottest \u2019round, \/ I told y\u2019all mother\u2014, \/ y\u2019all can\u2019t stop me now\u2026\u201d With these immortal words, Missy Elliott boasts of a lyrical confidence and demonstrates […]<\/p>\n","protected":false},"author":2,"featured_media":1897,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1896","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nIn the Baltimore Museum of Art\u2019s Hip-Hop Exhibition, Black Women Artists Shine Bright Like a Diamond - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"In\u00a0Missy Elliott\u2019s 2001 gargantuan worldwide hit song \u201cGet Ur Freak On,\u201d the rap icon rightfully asserts her dominance and opens with, \u201cMissy be puttin\u2019 it down, \/ I\u2019m the hottest \u2019round, \/ I told y\u2019all mother\u2014, \/ y\u2019all can\u2019t stop me now\u2026\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-the-baltimore-museum-of-arts-hip-hop-exhibition-black-women-artists-shine-bright-like-a-diamond\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In the Baltimore Museum of Art\u2019s Hip-Hop Exhibition, Black Women Artists Shine Bright Like a Diamond - Investable Art Auctioneer\" \/>\n<meta property=\"og:description\" content=\"In\u00a0Missy Elliott\u2019s 2001 gargantuan worldwide hit song \u201cGet Ur Freak On,\u201d the rap icon rightfully asserts her dominance and opens with, \u201cMissy be puttin\u2019 it down, \/ I\u2019m the hottest \u2019round, \/ I told y\u2019all mother\u2014, \/ y\u2019all can\u2019t stop me now\u2026\u201d\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-the-baltimore-museum-of-arts-hip-hop-exhibition-black-women-artists-shine-bright-like-a-diamond\/\" \/>\n<meta property=\"og:site_name\" content=\"Investable Art Auctioneer\" \/>\n<meta property=\"article:published_time\" content=\"2023-07-17T06:31:19+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.atelierauction.com\/globalupdates\/wp-content\/uploads\/2023\/07\/\u2018The-Culture-at-Baltimore-Museum-of-Art-\u2013-ARTnews.com_-www.artnews.com_.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1077\" \/>\n\t<meta property=\"og:image:height\" content=\"808\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Chloe Nicholls\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Chloe Nicholls\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-the-baltimore-museum-of-arts-hip-hop-exhibition-black-women-artists-shine-bright-like-a-diamond\/\",\"url\":\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/in-the-baltimore-museum-of-arts-hip-hop-exhibition-black-women-artists-shine-bright-like-a-diamond\/\",\"name\":\"In the Baltimore Museum of Art\u2019s Hip-Hop Exhibition, Black Women Artists Shine Bright Like a Diamond - 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