Nasher Museum of Art at Duke University
I really want my work to be able to still be relevant to what's happening now despite the time when I made it. Could have been responding to something completely different, but that's what I want from my work: to always kind of remain relevant no matter what's happening so I'm hoping it can be read in an entirely new way.Nina Chanel Abney, in a 2017 video about the original traveling exhibition Nina Chanel Abney: Royal Flush. ABOVE: Nina Chanel Abney, Hobson’s Choice (detail), 2017. Acrylic and spray paint on canvas, 84 1⁄4 x 120 3⁄16 x 1 15⁄16 inches. Collection of the Nasher Museum. Museum purchase. Image courtesy of the artist and Jack Shainman Gallery, New York, New York. © Nina Chanel Abney.
Professor Richard J. Powell, John Spencer Bassett Professor of Art & Art History at Duke, wrote this essay about a work by artist Carrie Mae Weems in the Nasher Museum’s collection. He read the essay aloud as part of his contribution to “A Tribute to Carrie Mae Weems,” hosted online by the Museum of Modern Art on February 2, 2021.
"You've got something to do that day. Because I have a disease that's a real thing, and it's progressive, and you never know when it's going to move you forward.” —Curt, who has been coming to Reflections tours since 2019.
Watch the video on Spectrum News.
"One of the few recent broad-spectrum shows to tackle the subject was Southern Accent: Seeking the American South in Contemporary Art, organized by Miranda Lash and Trevor Schoonmaker at the Nasher Museum of Art at Duke University in Durham, N.C. But that was in 2016.”—Co-chief art critic Holland Cotter in The New York Times.
Read the review of The Dirty South exhibition at the Virginia Museum of Fine Arts.
“Part of the Nasher’s mission since … 2005 has been to build a contemporary art collection that embraces diversity, particularly in its inclusion of artists of African descent. It doesn’t do this to get accolades, [Senior Curator Lauren] Haynes says, but because ‘it’s important to teach students this and allow them to have these works and these collections.’ ” Read more in Barron’s Penta magazine