MARCH

@marchforwardmarch

Juke Joint on view through June 20. Dianna Settles at Independent, Booth 202.
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Weeks posts
Ana Benaroya, There Must Be An Angel, 2021, India ink and marker on paper. Collection of the High Museum of Art (Atlanta, GA). Gift of KAWS. Accession 2021.288. @marchforwardmarch @anabenaroya @highmuseumofart @kaws #anabenaroya
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53 minutes ago
Thank you to Elisa Carollo and the Observer for including Dianna Settles in this fair report. Find us in Booth #202 at Independent all weekend. @platonicyouth @independent_hq @observer @marchforwardmarch #diannasettles
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6 hours ago
JUKE JOINT is officially open at MARCH with installation views posted here of gallery two. Photography by Cary Whittier. DM for any and all inquiries. From the press release: Nothing comes from nothing. Everything comes from something. The term juke is believed to come from the Gullah word joog, meaning rowdy or disorderly. Joog, in turn, is almost certainly derived from the Wolof word dzug meaning to misconduct one’s self. Juke also describes the outmaneuvering of an opponent, generally through quick movements. Colloquially the purview of athletes, this exhibition proposes an aesthetic shake off, embodied by Black artists engaged in a century-long dialogue using misdirection as a method of both survival and celebration. It takes the juke joint as both inspiration and setting. Historically, juke joints were not purpose-built but rather emerged in spaces that previously existed and later outfitted with bars, seating, decoration, and pool tables. These informal but influential establishments featured music, dancing, drinking, and sometimes gambling, operated by Black owners who provided private leisure space against the backdrop of segregation and Jim Crow. The origins of these spaces may lie in pre-emancipation community rooms, but we are ill-equipped to delve into centuries of creative survivalist response. Instead, this exhibition is focused on the development of a coherent visual language that reached a zenith in the 1980s, after the great social movements of the 1960s and before the ubiquitous arrival of ever-isolating technologies. The congruity of the works can be explained by the once widespread existence of these private gathering spaces paired with the inclinations of artists who held jobs working with their hands. The exhibition shares its title with a book of photographs by Birney Imes, published in 1990 by the University of Mississippi Press. The paintings, assemblages, drawings, and collages in our show appear to have spilled out the back door of any number of these places across the Southern United States and into the collective consciousness. @marchforwardmarch @parker.gallery @edelassanti @gordonrobichaux @tops_gallery @lonnieholleysuniverse
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7 hours ago
Thank you to Andrew Huff and Whitewall for including Dianna Settles in this survey of Independent, on view through this Sunday. Link in bio to read more. @platonicyouth @independent_hq @andrewhuff.jpg @whitewall.art #diannasettles
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1 day ago
Two photographs by Birney Imes, both on view during JUKE JOINT at MARCH—each taken at the Pink Pony Café. DM for availability or buy the book. Links in bio. Birney Imes, Pink Pony Café, 1983; Darling, Mississippi, 1983, Chromogenic print, 13 1/2 x 17 inches. @marchforwardmarch #birneyimes
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1 day ago
Dianna Settles at the INDEPENDENT. Booth 202. All installation photos by Cary Whittier. DM for more information. @marchforwardmarch @platonicyouth @independent_hq @c_whittier #diannasettles
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2 days ago
Claudia Keep’s “Sympathy for Mr. Palomar,” 2020 is featured in the current issue of AD ITALIA, installed at a private home in Abu Dhabi among other important works of art and design. @ad_italia @claudiakeep @marchforwardmarch
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3 days ago
Thank you to Annikka Olsen and Artnet for highlighting Dianna Settles in this insightful article. We look forward to exhibiting recent paintings by Settles in Booth 202 at Independent, opening this Thursday. @platonicyouth @independent_hq @artnet @annikkaolsen #diannasettles
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4 days ago
Gordon’s Luncheonette Shoe Repair and Patio Lounge as photographed by William S. Arnett circa 1995. Mose Tolliver was a frequent guest at the Bel Air neighborhood venue, opened in 1948 by Urelee Earl Gordon and his wife Ardela Williams Gordon in Montgomery, Alabama. The space was demolished in 1998. @marchforwardmarch @tinwoodfoundation #williamsarnett
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4 days ago
Please join us this Thursday for the opening of Independent, where we’ll be presenting new paintings by Dianna Settles in Booth #202. Contact [email protected] for more information + the preview. Dianna Settles 𝘔𝘪𝘭𝘬𝘺 𝘸𝘪𝘵𝘩 𝘴𝘭𝘦𝘦𝘱. 𝘏𝘦𝘢𝘷𝘦𝘯 𝘢𝘯𝘥 𝘦𝘢𝘳𝘵𝘩. 𝘛𝘩𝘦 𝘸𝘰𝘳𝘭𝘥 𝘪𝘴 𝘯𝘦𝘷𝘦𝘳 𝘮𝘰𝘳𝘦 𝘤𝘭𝘦𝘢𝘳𝘭𝘺 𝘢𝘳𝘰𝘶𝘯𝘥 𝘶𝘴., 2026 Acrylic and colored pencil on panel 32 x 24 x 1 inches @platonicyouth @independent_hq @marchforwardmarch #diannasettles
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5 days ago
JUKE JOINT is officially open at MARCH with installation views posted here and to the gallery site. Photography by Cary Whittier. DM for any and all inquiries. From the press release: Nothing comes from nothing. Everything comes from something. The term juke is believed to come from the Gullah word joog, meaning rowdy or disorderly. Joog, in turn, is almost certainly derived from the Wolof word dzug meaning to misconduct one’s self. Juke also describes the outmaneuvering of an opponent, generally through quick movements. Colloquially the purview of athletes, this exhibition proposes an aesthetic shake off, embodied by Black artists engaged in a century-long dialogue using misdirection as a method of both survival and celebration. It takes the juke joint as both inspiration and setting. Historically, juke joints were not purpose-built but rather emerged in spaces that previously existed and later outfitted with bars, seating, decoration, and pool tables. These informal but influential establishments featured music, dancing, drinking, and sometimes gambling, operated by Black owners who provided private leisure space against the backdrop of segregation and Jim Crow. The origins of these spaces may lie in pre-emancipation community rooms, but we are ill-equipped to delve into centuries of creative survivalist response. Instead, this exhibition is focused on the development of a coherent visual language that reached a zenith in the 1980s, after the great social movements of the 1960s and before the ubiquitous arrival of ever-isolating technologies. The congruity of the works can be explained by the once widespread existence of these private gathering spaces paired with the inclinations of artists who held jobs working with their hands. The exhibition shares its title with a book of photographs by Birney Imes, published in 1990 by the University of Mississippi Press. The paintings, assemblages, drawings, and collages in our show appear to have spilled out the back door of any number of these places across the Southern United States and into the collective consciousness. @marchforwardmarch #jukejoint @c_whittier @gordonrobichaux @polosilk3 @parker.gallery
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6 days ago
The 𝘑𝘶𝘬𝘦 𝘑𝘰𝘪𝘯𝘵 catalogue is now available for preorder on the MARCH Shop. Follow the link in our bio to reserve a copy now. Contents: 1. 𝘚𝘜𝘕𝘋𝘈𝘠 𝘔𝘖𝘙𝘕𝘐𝘕𝘎 𝘖𝘜𝘛𝘚𝘐𝘋𝘌 𝘋𝘈𝘙𝘓𝘐𝘕𝘎 Essay by Birney Imes 2. 𝘑𝘜𝘒𝘌 𝘑𝘖𝘐𝘕𝘛 𝘗𝘏𝘖𝘛𝘖𝘎𝘙𝘈𝘗𝘏𝘠 by Birney Imes 3. 𝘏𝘖𝘜𝘚𝘌𝘚 𝘖𝘍 𝘐𝘓𝘓 𝘍𝘈𝘔𝘌 Essay by Y. Malik Jalal 4. 𝘌𝘟𝘏𝘐𝘉𝘐𝘛𝘐𝘖𝘕 𝘞𝘖𝘙𝘒𝘚
By Ayé A. Aton, Bill Traylor, Gerald Jackson, Georgia Speller, Henry Speller, Joe Light, Joe Minter, Lonnie Holley Mary Tillman Smith, Mose Tolliver, Purvis Young, Polo Silk, Thornton Dial Sr. 5. 𝘖𝘜𝘛𝘓𝘈𝘞 𝘊𝘙𝘌𝘈𝘛𝘐𝘝𝘐𝘛𝘠: 𝘉𝘌𝘈𝘜𝘛𝘠 𝘍𝘙𝘖𝘔 𝘛𝘏𝘌 𝘚𝘖𝘜𝘓 Essay by María Elena Ortiz 6. 𝘌𝘟𝘏𝘐𝘉𝘐𝘛𝘐𝘖𝘕 𝘗𝘏𝘖𝘛𝘖𝘎𝘙𝘈𝘗𝘏𝘠 by Cary Whittier 7. 𝘑𝘜𝘒𝘌 𝘑𝘖𝘐𝘕𝘛 Exhibition text by Phillip March Jones Cover photo by Birney Imes. Title by Lonnie Holley. #jukejoint @marchforwardmarch
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7 days ago