In her exhibition titled “Spirit Movers” at the Museum of Modern Art, London-based designer Grace Wales Bonner explores the concept of sound embodied in material. With a selection of 36 objects, Wales Bonner curates a diverse range of works that pay homage to the African diaspora and highlight the connections between sound, form, and style. The exhibition features well-known and overlooked figures from the Afro-Atlantic world, creating a harmonic convergence of various objects that immerses visitors in a rich sensory experience. The show opens with Terry Adkins’s monumental wind instrument ensemble, “Last Trumpet,” and continues with a captivating blend of sight-and-sound compositions, including photographs, drawings, and collages. With its poetic research and global perspective, “Spirit Movers” offers an engaging exploration of the intersections between art and sound.
Themes Explored in Grace Wales Bonner’s Exhibition
Sound embodied in Material
In Grace Wales Bonner’s exhibition, “Spirit Movers,” the foundational theme explored is the idea of sound embodied in material. Through 36 carefully chosen objects, Bonner presents a wide range of modern and contemporary cultural expressions that highlight the fusion of sound and material. The exhibition opens with Terry Adkins’s monumental wind instrument ensemble titled “Last Trumpet,” which showcases the embodiment of sound in brass and sousaphone and trombone bells. This theme of sound in material is further explored throughout the exhibition, offering visitors a unique sensory experience.
African diaspora
Another significant theme explored in the exhibition is the African diaspora. Bonner’s selection of objects includes artists with links to the Afro-Atlantic world, highlighting the diverse cultural contributions of the African diaspora. For example, Ruth Bernhard’s photograph captures Hall Johnson conducting his Negro Choir, representing the rich tradition of African American choral music. By incorporating these objects into the exhibition, Bonner brings attention to the cultural heritage and artistic achievements of the African diaspora.
Black diasporic focus
The exhibition also has a specific focus on the Black diaspora. Through the inclusion of works by African American artists such as David Hammons and Benjamin Patterson, as well as African artists like Moustapha Dimé, Bonner seeks to celebrate and highlight the artistic expressions of Black artists from around the world. This focus on the Black diaspora serves as a powerful statement of solidarity and recognition of the global impact of Black culture and creativity.
Objects in the Exhibition
The exhibition features a diverse selection of objects that embody and represent the themes explored by Grace Wales Bonner. Each object offers a unique perspective on the intersection of sound, material, and diasporic experiences. Some of the notable objects in the exhibition include:
- Terry Adkins’s wind instrument ensemble, “Last Trumpet,” which symbolizes the idea of sound embodied in materials, specifically brass and sousaphone and trombone bells.
- Agnes Martin’s gold-leaf painting titled “Friendship,” which exudes a glowing fanfare and represents the fusion of sound and visual aesthetics.
- Ruth Bernhard’s photograph capturing Hall Johnson conducting his Negro Choir, highlighting the rich choral traditions of the African American community.
- Lenore Tawney’s Gothic-lettered book adorned with bright-colored seeds, representing the artistic fusion of text, design, and natural materials.
- Richard Long’s notebook written in River Avon mud, symbolizing the connection between nature, sound, and artistic expression.
- Minnie Evans’s drawing, showcasing the visionary artistic style of a North Carolina artist deeply connected to spiritual and divine inspirations.
- Moustapha Dimé’s sculpture, serving as a central focal point in the exhibition and representing the voice and creative spirit of the Senegalese artist.
- Performance scores by Mieko Shiomi, Yasunao Tone, and Benjamin Patterson, showcasing the intersection of sound and visual art through musical notation.
- David Hammons’s collage piece titled “Afro Asian Eclipse (or Black China),” referencing Afro Asian culture and highlighting the global reach of diasporic experiences.
Through these objects, visitors to the exhibition can explore the diverse ways in which sound and material are intertwined and how they give voice to the African and Black diasporas.
The Global Perspective
One of the notable aspects of Grace Wales Bonner’s exhibition is its global perspective. Through the inclusion of artists from various cultural backgrounds, the exhibition seeks to create a dialogue and exploration of world music genres. For example, the exhibition features performance scores by Japanese artists Mieko Shiomi and Yasunao Tone, highlighting the influence of Japanese musical traditions. Additionally, Benjamin Patterson’s participation in the international Fluxus group, alongside Shiomi and Tone, signifies the global reach and collaboration of artists from different backgrounds.
David Hammons’s collage piece titled “Afro Asian Eclipse (or Black China)” further encapsulates the global perspective of the exhibition. By referencing Afro Asian culture, Hammons demonstrates the interconnectedness of Black and Asian diasporas and their contributions to global art and culture. This exploration of diverse cultural perspectives creates a rich and multifaceted experience for visitors, fostering a greater understanding and appreciation of global artistic expressions.
Accompanying Book: ‘Dream in the Rhythm: Visions of Sound and Spirit in the MoMA Collection’
In conjunction with the exhibition, Grace Wales Bonner has curated an accompanying book titled “Dream in the Rhythm: Visions of Sound and Spirit in the MoMA Collection.” This book combines visual images, poems, and essays to complement and expand on the themes explored in the exhibition. Contributions by renowned figures such as Nikki Giovanni, Ishmael Reed, Jean Toomer, Greg Tate, and Michelle Kuo provide additional perspectives and insights.
The combination of pictures, poems, and essays in the book allows for a deeper exploration of the intersection between sound, spirit, and the artistic process. Through this medium, readers can engage with the exhibition beyond their visit to the museum, further immersing themselves in the themes and ideas presented by Wales Bonner.
Venue and Contact Information
The exhibition is held at the Museum of Modern Art, located at 11 West 53rd Street in Manhattan. For more information and inquiries, visitors can contact the museum at (212) 708-9400 or visit their website at moma.org. The exhibition is open for a limited time, so interested individuals are encouraged to plan their visit accordingly.
About the Author
The article was written by Holland Cotter, the co-chief art critic of The Times and a recipient of the Pulitzer Prize for criticism in 2009. Cotter has extensive experience and knowledge in the field of art criticism, and his writing offers a professional and insightful perspective. As a widely recognized critic, Cotter’s contribution to the article adds credibility and expertise to the discussion of Grace Wales Bonner’s exhibition.
Conclusion
Grace Wales Bonner’s exhibition, “Spirit Movers,” at the Museum of Modern Art is a compelling exploration of sound, diaspora, and artistic expression. Through a diverse selection of objects and a global perspective, Bonner creates a space for visitors to engage with the themes of the exhibition and appreciate the richness and complexity of the African and Black diasporic experiences. The accompanying book, “Dream in the Rhythm: Visions of Sound and Spirit in the MoMA Collection,” further enhances the exhibition by providing additional insights and perspectives. Overall, the exhibition offers a unique and immersive experience that celebrates the power of art to transcend borders and connect people through sound and spirit.
