#miriam leone icons

[gt-icons]

Random Actress icons

‒ like or reblog if you save.

[loslabiosdetokio]

Miriam/Anna

Miriam's hand

[jbaileyfansite]

Jonathan Bailey with Barry Keoghan, Alisha Boe, Alessandra Ambrosio, Naomie Harris, Miriam Leone and Hero Fiennes Tiffin at the ‘Icons shine with Omega in Milan’ (April 23, 2024)

[rampldgifs]

click the source for 89 gifs of italian actress MIRIAM LEONE in DIABOLIK CHI SEI?(2023). please note that i do not approve of the 5+/- age rule.  so please don’t edit, repost or claim as your own or i will eat you. tag me if you’re posting edited gif icons for public use. give this post a like or reblog if useful. enjoy !

[carelessgraces]

hello darlings !! i’ve uploaded my miriam leone icons for public use, since there are so few of her that are available right now. they’re separated into categories, and will be updated as i make more icons. note: some n.sfw content, including nudity & violence.

miriam in FILM (currently includes: fratelli unici, genitori figli, un paese quasi perfetto)

miriam in TELEVISION (currently includes: medici)

miriam in LA DAMA VELATA (currently includes: episodes 02, 03, 05, 06)

rules for use: credit is not necessary; just don’t claim as your own. feel free to edit however you’d like, including with PSDs and resizing. if someone else wants the icons, please pass this post their way. happy writing !!

[zuzcreation]

Icons of Miriam Leone as Bianca in Medici (x6)

[baadideaa]

Italian queen - Miriam Leone.

[pochiperpe90]

“CRIMINAL AND GENTLEMAN”

Luca Marinelli arrives in theater in the iconic black jumpsuit of Diabolik, the famous masked thief from the comic series, always on the hunt for jewels and in love with Eva Kant

We have been waiting for his Diabolik for a long time. Two years after the end of filming, on December 16th, the film by the Manetti brothers finally arrives on the screens with 01 Distribution, starring Luca Marinelli as the masked thief. And alongside him Miriam Leone in the role of Eva Kant and Valerio Mastandrea in those of Inspector Ginko. Marinelli, who in the meantime has been shooting Le Otto Montagne by Felix van Groeningen and Charlotte Vandermeersch, from the novel by Paolo Cognetti, tells Ciak how he worked to give body and soul to one of the greatest icons of comics.  

Have you been or are you a reader of the comic?  

I read it because I always found it in every house I went to as a child. There was a Diabolik everywhere and everyone knows him. I thought about it just when they told me I had landed the role. I've actually always loved comics: as a child I read Topolino, then came the passion for Dylan Dog. 

What fascinates you about this character?

Many things prompted me to "find" Diabolik. Everyone knows what he is like, what he says, even if no one knows how he really speaks because comics have no voice. Everyone has a specific image of him, but I have faced him like most of the other roles in my career. They entrusted me with a character and I went there to take the things that excited me the most. I like the fact that he's so quiet and extremely intelligent, an anti-hero, but loyal, with his own code of conduct. There is an issue about the meeting between Diabolik and Eva Kant, but also one about his origins, where he tells who he is and where he comes from. We discover that he grew up on an island populated by outlaws and there is a moment when he meets a panther. A panther who terrifies everyone, but he doesn't fear it and the panther spares him. Between them there is this long moment of silence and exchange. He reminded me of my first encounter as a child with wild animals, albeit in captivity, with the lion, the panther. I remember their eyes, their breathing, sounds I had never heard before, very loud, which frightened me and fascinated me at the same time. 

The name of Diabolik is inextricably linked to that of Eva Kant. 

They have a very special relationship, she is a very strong woman, Diabolik is nothing without her. And it’s nice that this relationship was born in the sixties from the pen of two women, the Giussani sisters, very active also politically and involved in the campaign in favor of divorce. The figure of Eva Kant is essential, and Diabolik falls madly in love with her.  Among them there is love, friendship, complicity, sharing. They can be themselves only when they are together, while when they come out they must necessarily assume other identities. And they have this beautiful place, by the sea, to take refuge together.  

You play an icon that survives decades and generations. Was it more the fear or the enthusiasm?  

It was a very interesting challenge. I learned that this project was in Marco and Antonio Manetti's hands, with whom I had wanted to work for some time and whom I follow from Zora la vampira. I was delighted to approach through an audition, putting myself to the test. The audition was a beautiful moment in which I understood what amount we would work on. I brought my ideas, the Manettis had theirs, but at the base there was a common line. Of course, interpreting an icon like Diabolik, who will soon turn 60, can be frightening, also because I don't even resemble him, but it’s very stimulating to work on it. I like to approach a character with my own idea, collaborating closely with all the departments involved in the characterization.  

And how did it go?  

I had a great time. I went long before in Bologna, I joined the big, wonderful Manettis family, I did some body work because Diabolik has to have a nice body, and then he jumps, fights and is athletically ready. Finding the right suit was also fun. Diabolik wears one made of materials that do not exist, it’s a sort of second skin colored in black. I studied the character from different points of view, comparing myself with others, doing tests. The preparation period was really nice. 

Have you seen or re-watched Mario Bava's Diabolik?  

I saw some scenes, which I liked a lot, also because Bava felt really free. Diabolik in fact wears a leather jacket and jeans. I like that aesthetic, the way he moves and looks, but there was already the comic and I preferred to focus on that. 

Diabolik is a thief who fights against banks and people who have made money illegally. Are we talking about social justice?  

I wouldn’t go on these issues. Certainly he clashes with high society and with banks, but in reality if there is a jewel shortly after there will also be Diabolik. I have asked myself some questions about his dedication to theft and I have also given myself some answers, but I prefer to keep them to myself because it’s right for the public to come up with their own ideas. 

And the work with Miriam Leone and Valerio Mastandrea?

I remember the first meetings, very funny, our readings with the Manettis in their office in Bologna. We were so excited to tell this story that we entered that world right away. Sharing the scene with them, seeing them build their characters, was a great experience. With Valerio it was very difficult to remain serious, we can't look each other in the eyes without laughing, especially when he said “hands up!” And I “damn it!”. For some takes it took a while for us to stay serious. Also with Miriam there were many funny scenes, like the one in a rubber dinghy, in Trieste, while we were running at full speed on the sea, in the dark. A great fear and so cold!  And then there are many wonderful roles, played by excellent actors, such as Claudia Gerini who you will see in a brilliant cameo. All together we have created this fantastic world.  

What kind of directors were the Manettis?  

They are very beautiful souls, honest people, passionate directors who love what they do and are very open to any kind of proposal. Films are made together and on the set there was a strong energy and a great spirit of sharing.

CIAK - Dicembre 2021

Just wanted to translate this interview for the non-italian’s fans ^^ (sorry for my English)

[mythcreated-a]

CLICK THE SOURCE LINK BELOW & YOU WILL find GIFS OF Miriam Leone in La dama velata ep3. I will be be adding more gifs on my own pace. Do whatever the hell you want with them, just don’t turn them into gif icons bellow 100x100px, and if you use them for crackships @ me so I can see what you make with them!  LIKE OR REBLOG IF YOU LIKE THEM or if you are going to use them. oh, and have a good day!

TW: crying, one gif where she grabs a man roughly

[peroxideprinces]

vocaloid? i would like to know :]

this is a v big can of worms you r openin rn <3 DJKLFJLKFDS

so vocaloid !!! voice synthesizers !!! singers give samples of their voice n uhhh the samples r used to make a vocaloid !!!! n then those vocaloids r more often than not given an avatar n sold so producers can make songs w them !!!! thats the basic overview of what a vocaloid is :D (NOT TO B CONFUSED W UTAU !!! THEY R V V SIMILAR EXCEPT UTAU IS FREE N YOU CAN CREATE YOUR OWN !!!)

there r some v popular vocaloid mascots like hatsune miku, kagemine rin n len, n megurine luka (all made by crypton !) the cryptonloids (see three before; kaito, n meiko (first two japanese vocaloids)), gumi, ia, n gakupo r some of the most popular loids !!!!

miku has a japanese, english, n chinese voicebank as well as many other appends !!!

rin n len have japanese n english voicebanks as well as appends, same w gumi, meiko, n kaito (except meiko n kaito dont have any appends .)

luke has a japanese n english voicebank !!! she was the first vocaloid w both an english n a japanese vocaloid !!!

gakupo only has japanese voicebanks n i think hes only been released for v2, v3, n v4 but i could be wrong !!!

ia has i think japanese voicebanks ??? her english voicebank was released a couple years ago i think n HOLY SHIT ITS SO REALISTIC ITS KINDA SCARY ???

miku obviously has probably the most iconic songs but i think there r a few producers that use her well like ???

deco*27 (see here, here, n here), mitchie m (see here, here, n here), n supercell (see here, here, n here) r a few examples !! most of the popular miku songs r produced by one of these three !!!

theres also a few others that r v v good like matryoshka, sand planet, n shake it !!! theres a lot m missin bc shes used So Much but shes fun !!!

rin n len r used together a lot bc theyre "mirror images" (twins basically) n voiced by the same person FKJLSDKJFDLS len has a common theme in every story song where he dies or bein v v sexual (the kagamines r 14 btw :/) n rin is either v cute or the literal devil !

some songs w them together r bring it on, this cover of electric angel, n the servant of evil series (not gonna link it bc the evillious chronicles is,,, so fuckin much,,, i dont ever wanna get into it,,,,) !

uhhh too lazy to link any more here so um !!! good rin songs r meltdown, girl a, melancholic, tengaku, n kokoro !!

some good len songs r holy lance explosion boy (sacred spear explosion boy ? idk one of those two titles), paradichlorobenzene, butterfly on your (my ?) right (left ?) shoulder, that one ponponpon cover, n nakakapagpabagabag !!

kaito n meiko !!! they arent used together v often (meiko isnt used for A Lot ://) but they were released around the same time !!! they were the first japanese vocaloids ever (leon, lola, n miriam were the first three loids n they all were english) !!!

they dont have the best soundin voices in the world bc they arent used v well all the time but there r some really really good songs w them !!! for meiko id say that one cover of the snow white princess is, nostalgic, change me, n evil food eater conchita (again, the evillious chronicles is A Lot) !! kaito id say doctor=funk beat, believe, cantarella, n 1/4 !!!!

luka was the first vocaloid that could speak two languages n was so popular when she was released like . she was more popular than miku at one point . n i think she is v v cool !!!

she has v good english songs like circus monster, lie, n last of me; as well as some good japanese songs like blackjack, double lariat, n luka luka night fever !!

gumi has so many voicebanks its unbelievable,,, fun fact ! gumi has the most voicebanks out of any loid !! she has 17 !!!

shes used a lot n has so so many good songs its hard to only name a few but i will anyway fdkjlasfjkls uhhhh literally any hachi song usin her (matryoshka, donut hole, n panda hero as examples), coward montblanc, mozaik role, copycat, ten-faced, echo, any kira song (examples: circles, monster, n machine gun), the foxs weddin, again, n any ghost song usin her (examples: the chatterin lack of common sense, those who carried on, housewife radio) !!!

another fun fact ! gumi had her own rhythm game (shes not a cryptonloid so she wasnt in project diva) !!! its kinda shit !!!!

ia n gakupo i know Less ab . ia has a sister named one n shes fun ! gakupo has a crush on gumi in the nico nico cho parties !

other than that i dont know a lot ab them or songs featurin them dfksljafkldj ia has a tale of six trillion years n a night, a realistic logical ideologist, n higher !!!

the only gakupo song i know is the madness of the duke of venomania (also in the evillious chronicles . there is so much lore there hgoly shit,,, n the songs mentioned r only the ones in the seven deadly sins part !!!)

[fivehargrves]

click the source & you will find #45 gifs of miriam leone in 1992. feel free to use them to your heart’s desire. just credit me if you’re making crackships or gif icons so that i can see your work. 

triggers: smoking, crying

[jbaileyfansite]

Jonathan Bailey with the other friends and ambassadors of OMEGA for the ‘Icons shine with Omega in Milan’ (April 23, 2024) [x]

[rampldgifs]

click the source for 981 gifs of italian actress MIRIAM LEONE in DIABOLIK(2021), DIABOLIK:GINKO ATTACKS!(2022) & assorted interviews.  please note that i do not approve of the 5+/- age rule.  so please don’t edit, repost or claim as your own or i will eat you. tag me if you’re posting edited gif icons for public use. give this post a like or reblog if useful. enjoy !

[elodicyung]

CLICK THE SOURCE LINK BELOW & YOU WILL find GIFS OF Miriam Leone in La dama velata. I will be be adding more gifs on my own time, since I have a short-attention span and tend to update my gif packs at random times. So check here to see if I added any whenever you want to. But like, do whatever the hell you want with them, just don’t turn them into gif icons bellow 100x100px (and if you do, credit me) or put in gif hunts. LIKE OR REBLOG IF YOU LIKE THEM or if you are going to use them. oh, and have a good day!

TW: eye-contact, crying, grave

[spokenitalics]

on a purely rational level, i knew they were gonna give luca marinelli that iconic widow peak.......& yet it took me by surprise

(also, miriam leone driving the jaguar 👌👌👌👌👌)

[brooklynmuseum]

Upcoming 2020 Exhibitions

We’re pleased to announce a selection of upcoming 2020 exhibitions. This winter, we welcome back our iconic Kehinde Wiley painting Napoleon Leading the Army over the Alps (2005), which for the first time at the Brooklyn Museum will be presented in dialogue with its early nineteenth-century source painting, Jacques-Louis David’s Bonaparte Crossing the Alps (1801). We also look at our collection from new perspectives with focused exhibitions that present historical works through a contemporary, multifaceted lens. Out of Place: A Feminist Look at the Collection examines nearly 50 collection works using an intersectional feminist framework. Climate in Crisis: Environmental Change in the Indigenous Americas is an installation of the Museum’s Arts of the Americas collection which reconsiders indigenous art from the perspective of the prolonged and ongoing impact of climate change and colonization. Contemporary artist and MacArthur Fellowship recipient Jeffrey Gibson mines our collection and archives to examine collecting practices and reinterpret historical representations of indigenous communities. We also present African Arts—Global Conversations, a cross-cultural exhibition pairing diverse African works with collection objects made around the world, and Striking Power: Iconoclasm in Ancient Egypt, which examines the damage to sculptures and reliefs in ancient Egypt as a way of also exploring twenty-first-century concerns and struggles over public monuments and the destruction of antiquities.

In March, we celebrate the iconic history and trailblazing aesthetics of Studio 54 in a special exhibition featuring never-before-seen archival materials, video, photography, fashion, and more. We will also present the first solo museum exhibition dedicated to Brooklyn-based photographer John Edmonds, winner of our inaugural UOVO Prize for an emerging Brooklyn artist. And in the fall of 2020, we are proud to mount the first career retrospective of the work of Lorraine O’Grady, one of the most significant figures in contemporary performance, conceptual, and feminist art.

“We’re thrilled to present a roster of exhibitions next season that are in conversation with our collection in fresh and exciting ways,” says Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum. “As an encyclopedic museum, we’re always looking for new ways to examine our collection and open it up to include narratives that have historically been left out of the canon. In 2020, we’re committed to exhibitions that do just that: telling stories that are rarely told, through the eyes of contemporary artists.”

Jacques-Louis David Meets Kehinde Wiley January 24–May 10, 2020  Morris A. and Meyer Schapiro Wing, 4th Floor

This exhibition brings an iconic painting from our collection—Kehinde Wiley’s Napoleon Leading the Army over the Alps (2005)—into dialogue with its early nineteenth-century source painting, Jacques-Louis David’s Bonaparte Crossing the Alps (1801). The two paintings, displayed together for the very first time, are on view in consecutive exhibitions at the Château de Malmaison from October 9, 2019, to January 6, 2020, and at the Brooklyn Museum from January 24 to May 10, 2020. This focused exhibition questions how ideas of race, masculinity, representation, power, heroics, and agency play out within the realm of portraiture. The presentation at the Brooklyn Museum is the first time David’s painting is on view in New York, and Wiley marks this momentous occasion by consulting on the exhibition design. It includes videos incorporating Wiley’s perspectives on how the Western canon, French portrait tradition, and legacies of colonialism influence his own practice. The exhibition represents an intimate conversation between two key artists of the nineteenth and twenty-first centuries and illuminates how images construct history, convey notions of power and leadership, and create icons. 

The exhibition is organized by the Brooklyn Museum and Musée national des châteaux de Malmaison and Bois-Préau. The Brooklyn presentation is curated by Lisa Small, Senior Curator, European Art, and Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, Brooklyn Museum.

Out of Place: A Feminist Look at the Collection January 24–September 13, 2020 Elizabeth A. Sackler Center for Feminist Art, 4th Floor

This exhibition presents more than 50 works from across our collections. Following the 2018 exhibition Half the Picture: A Feminist Look at the Collection, Out of Place also explores collection works anew through an intersectional feminist framework. Out of Place features more than forty artists from remarkably different contexts whose unconventional materials and approaches call for a broader and more dynamic understanding of modern and contemporary art. 

Examining how contexts change the way we see art, Out of Place: A Feminist Look at the Collection showcases artists who have traditionally been seen as “out of place” in most major collecting museums. The exhibition is organized around three distinct cultural contexts for making and understanding creativity—museums and art spaces, place-based practices, and the domestic sphere—and explores significant histories that have been, until recently, overlooked and undervalued, despite their influence outside of the mainstream. Out of Place traces how cultural institutions are challenged and changed by the ways artists work. Over half of the works in the exhibition are on view for the very first time, including important collection objects as well as significant new acquisitions, such as highlights from the recent Souls Grown Deep Foundation Gift of works by Black artists of the American South. 

Artists featured include Louise Bourgeois, Beverly Buchanan, Chryssa, Thornton Dial, Helen Frankenthaler, Lourdes Grobet, Louise Nevelson, Dorothea Rockburne, Betye Saar, Miriam Schapiro, Judith Scott, Joan Snyder, and May Wilson, among others. 

Out of Place: A Feminist Look at the Collection is curated by Catherine Morris, Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, and Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art. Generous support for this exhibition is provided by the Helene Zucker Seeman Memorial Exhibition Fund.

Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks  February 14, 2020–January 10, 2021  Arts of the Americas Galleries, 5th Floor 

This exhibition presents new and existing work by artist Jeffrey Gibson alongside a selection from our extensive collection and archives. Gibson collaborated with historian Christian Crouch to organize this exhibition that examines nineteenth- and early twentieth-century museum collecting practices, and the historical representations of indigenous communities, through a contemporary lens. 

Gibson, an artist of Choctaw and Cherokee descent, often incorporates elements of Native American art and craft into his practice. He regards these aesthetic and material histories as modern, innovative, global, and hybrid. The presentation includes collection objects such as moccasins, headdresses, ceramics, and parfleche, and examples of beadwork and appliqué, displayed alongside Gibson’s contemporary works, which take material and formal inspiration from these traditional artistic practices. The exhibition also includes rarely exhibited items from our archives that shed light on the formation of the Brooklyn Museum’s Native American collection in the early twentieth century by curator Stewart Culin. The archival selections by Gibson and Crouch aim to return the focus to the indigenous individuals represented within the archives, recovering those individuals’ previously overlooked narratives and presence. 

By presenting his own work alongside key selections from our collection, Gibson offers a different perspective on historical objects within a museum setting—one that is not static or stuck in the past, but ever evolving and modern. He encourages visitors to question long-held categorizations and representations of Native American art and challenges our understanding of tradition, practice, craftsmanship, and art-making. 

Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks is organized by Jeffrey Gibson and Christian Crouch, Curatorial Advisor, with Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, and Erika Umali, Mellon Curatorial Fellow, with support from Nancy Rosoff, Andrew W. Mellon Senior Curator, Arts of the Americas, and Molly Seegers, Museum Archivist, Brooklyn Museum. Major support for this exhibition is provided by Ellen and William Taubman. Generous support is provided by the Brooklyn Museum’s Contemporary Art Committee, the FUNd, and Stephanie and Tim Ingrassia.

Climate in Crisis: Environmental Change in the Indigenous Americas  February 14, 2020–January 10, 2021 Arts of the Americas Galleries, 5th Floor 

Climate change is having a severe impact on indigenous communities across the Americas, but this situation has an even longer history. The European conquest and colonization of the Americas beginning in the sixteenth century introduced ways of using and exploiting natural resources that clashed with indigenous ways of understanding and relating to the natural world. This exhibition draws upon the strength of our renowned collection to highlight indigenous worldviews about the environment, and the ongoing threat of ecological destruction. 

The installation includes work spanning 2,800 years, and explores how indigenous beliefs, practices, and ways of living are impacted by the climate crisis, ranging from the effects of melting sea ice and overfishing for Native peoples of the Arctic and Pacific Northwest to illegal logging and deforestation for indigenous communities in the Amazon. This environmental perspective reveals the fundamental disparities between the misuse of natural resources over the past five hundred years and indigenous communities’ profound relationships with their ancestral homelands. In addition, the exhibition incorporates voices of contemporary indigenous activists to underscore the work being done today to counter the climate crisis and protect the planet. 

Climate in Crisis: Environmental Change in the Indigenous Americas is curated by Nancy Rosoff, Andrew W. Mellon Senior Curator, Arts of the Americas, with Joseph Shaikewitz and Shea Spiller, Curatorial Assistants, Arts of the Americas and Europe.

African Arts—Global Conversations  February 14–November 15, 2020  Lobby Gallery, 1st Floor, and collection galleries on the 2nd, 3rd, and 5th Floors

African Arts—Global Conversations seeks to bring African arts into broader, deeper, and more meaningful and critical conversations about the ways that art history and encyclopedic museums have or have not included African artworks. It is the first exhibition of its kind to take a transcultural approach pairing diverse African works across mediums with objects made around the world―all drawn from our collection. It puts African and non-African arts from distinct places and time periods in dialogue with each other in an introductory gallery, as well as in “activation spaces” in the galleries dedicated to European Art, Arts of the Americas, American Art, Ancient Egyptian Art, and Arts of Asia. Duos, trios, and other groupings of objects from a wide variety of locations worldwide prompt conversations about history, art, race, power, design, and more. Approximately 33 artworks are presented (including 20 by African artists), as well as a selection of historical books. Highlights include the celebrated eighteenth-century sculpture of a Kuba ruler, a selection of fourteenth- to sixteenth-century Ethiopian Orthodox processional crosses, and a midtwentieth-century mask from Sierra Leone’s Ordehlay (Ode-Lay) society. Also on view are works by contemporary artists Atta Kwami, Ranti Bam, Magdalene Odundo OBE, and Taiye Idahor. 

African Arts—Global Conversations is curated by Kristen Windmuller-Luna, Sills Family Consulting Curator, African Arts, Brooklyn Museum. 

Studio 54: Night Magic   March 13–July 5, 2020   Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery, 5th Floor 

Studio 54: Night Magic is the first exhibition to trace the groundbreaking aesthetics and social politics of the historic nightclub, and its lasting influence on nightclub design, cinema, and fashion. Though it was open for only three years—from April 26, 1977, to February 2, 1980—Studio 54 was arguably the most iconic nightclub to emerge in the twentieth century. Set in a former opera house in Midtown Manhattan, with the stage innovatively re-envisioned as a dance floor, Studio 54 became a space of sexual, gender, and creative liberation, where every patron could feel like a star. From the moment Studio 54 opened, its cutting-edge décor and state-of-the-art sound and lighting systems set it apart from other clubs at the time, attracting artists, fashion designers, musicians, and celebrities whose visits were vividly chronicled by notable photographers. In addition to presenting the photography and media that brought Studio 54 to global fame, the exhibition conveys the excitement of Manhattan’s storied disco club with more than 600 objects ranging from fashion design, drawings, paintings, film, and music to décor and extensive archives. 

Studio 54: Night Magic is curated and designed by Matthew Yokobosky, Senior Curator of Fashion and Material Culture, Brooklyn Museum. Lead sponsorship for this exhibition is provided by Spotify.

John Edmonds: A Sidelong Glance  May 1, 2020–February 7, 2021   Stephanie and Tim Ingrassia Gallery of Contemporary Art, 4th Floor 

John Edmonds is the first winner of the UOVO Prize, a new annual award for an emerging artist living or working in Brooklyn. This is Edmonds’s first solo museum exhibition and features approximately 25 new and recent photographic works that include portraiture and still lifes of Central and West African sculptures. Best known for his sensitive depictions of young Black men, Edmonds uses photography and video to create formal pictures that challenge art historical precedents and center Black queer desire. He often uses a large-format camera to heighten the staging of his subjects and explore their sculptural potential, making reference to religious paintings and modernist photography. Highlighting markers of Black self-fashioning and community— hoodies, du-rags, and more recently, African sculptures— Edmonds’s works point to individual style and a shared visual language across time. 

John Edmonds: A Sidelong Glance is curated by Ashley James, former Assistant Curator, Contemporary Art, and Drew Sawyer, Phillip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum. Leadership support for the UOVO Prize is provided by UOVO.

Striking Power: Iconoclasm in Ancient Egypt Opening May 22, 2020  Egyptian Galleries, 3rd Floor 

This exhibition, which draws from our renowned Egyptian collection, seeks to establish a context for considering contemporary concerns and struggles over public monuments and damage to antiquities. Striking Power: Iconoclasm in Ancient Egypt explores patterns of organized campaigns of destruction to sculptures and reliefs motivated by shifting ideologies, politics, and crime in ancient Egypt, over a 2,500-year period. Presenting approximately 60 whole and damaged masterpieces of Egyptian art, the exhibition explores the damage that occurred during and after the rule of Pharaohs, with particular focus on the contested reigns of Hatshepsut (circa 1478–1458 B.C.E.) and Akhenaten (circa 1353–1336 B.C.E.). Targeted damage to sculptures typically occurred around a figure’s nose, which ancient Egyptians believed would remove the sculpture’s supernatural ability to breathe and therefore prevent the deceased figure from interacting with the human world. The exhibition explores the notion of public approval of iconoclasm and poses the question, who has the power to bring down or destroy images? Opinions about iconoclasm hinge on questions of whose narrative dominates public space. Many of the same questions about public art that concern the contemporary world, such as the role that U.S. Confederate monuments should play in today’s publically shared spaces, are illuminated through the lens of ancient iconoclasm. 

Striking Power: Iconoclasm in Ancient Egypt is organized in collaboration with the Pulitzer Arts Foundation and is curated by Edward Bleiberg, Senior Curator of Egyptian, Classical, and Ancient Near Eastern Art, Brooklyn Museum.

Lorraine O’Grady: Both/And   November 20, 2020–April 11, 2021  Elizabeth A. Sackler Center for Feminist Art, 4th Floor 

Lorraine O’Grady: Both/And is the first comprehensive retrospective of one of the most significant figures in contemporary performance, conceptual, and feminist art. For four decades, from the anger and hilarity of the early guerrilla performance Mademoiselle Bourgeoise Noire, to the joy and complexity of Art Is… on Harlem’s streets, to the haunting alternations in her single-channel video Landscape (Western Hemisphere), O’Grady has delved fearlessly into a range of timely questions: Black subjectivity (especially Black female subjectivity), diaspora, hybridity, art’s guiding concepts and institutions (from modernism to the museum), and the intersection of self and history. By putting contradictory ideas into play—black and white, self and other, here and there, West and non-West, past and present—and allowing them to interact with each other without expecting a concrete resolution, O’Grady’s work aims to replace the dualistic, “either/or” of Western thought with a productive, open-ended “both/and.” The urgency of the ideas she explores is perhaps the reason that her work is being newly embraced by a younger generation of artists who find much to learn from a practice that upends the fixed positions of power that structure our culture—while bringing into focus the poignancy of the lives that have been lived within these frameworks.

The exhibition includes twelve of the artist’s fourteen major projects, accompanied by a selection of material from her rich archive. It is accompanied by a catalogue documenting the full span of O’Grady’s artistic career, the first publication to do so, with essays by Malik Gaines, Harry Burke, Zoe Whitley, Catherine Morris, and Aruna D’Souza, along with a conversation between O’Grady and Catherine Lord. 

Lorraine O’Grady: Both/And is organized by Catherine Morris, Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and writer Aruna D’Souza. Leadership support for this exhibition is provided by The Kaleta A. Doolin Foundation. Major support is provided by the Elizabeth A. Sackler Museum Educational Trust. Generous support is provided by Shelley Fox Aarons and Philip Aarons.

We hope to see you at the Museum soon!

Illustrated, from top:

Rose Hartman (American, born 1937). Bianca Jagger Celebrating her Birthday, Studio 54, 1977. Black and white photograph. Courtesy of the artist. © Rose Hartman 

Kehinde Wiley (American, born 1977). Napoleon Leading the Army over the Alps, 2005. Oil on canvas. Brooklyn Museum, Partial gift of Suzi and Andrew Booke Cohen in memory of Ilene R. Booke and in honor of Arnold L. Lehman, Mary Smith Dorward Fund, and William K. Jacobs, Jr. Fund, 2015.53. © Kehinde Wiley. (Photo: Brooklyn Museum) 

Lourdes Grobet (born Mexico City, Mexico, 1940). Untitled, from the series Painted Landscapes, circa 1982. Silver dye bleach photograph. Brooklyn Museum; Gift of Marcuse Pfeifer, 1990.119.12. © Maria de Lourdes Grobet. (Photo: Brooklyn Museum)

Jeffrey Gibson (American, born 1972). WHEN FIRE IS APPLIED TO A STONE IT CRACKS, 2019. Acrylic on canvas, glass beads and artificial sinew inset into custom wood frame. Courtesy of the artist and Kavi Gupta, Chicago. © Jeffrey Gibson. (Photo: John Lusis) 

Eskimo artist. Engraved Whale Tooth, late 19th century. Sperm whale tooth, black ash or graphite, oil. Brooklyn Museum; Gift of Robert B. Woodward, 20.895. Creative Commons-BY. (Photo: Brooklyn Museum) 

Kuba artist. Mask (Mwaash aMbooy), late 19th or early 20th century. Rawhide, paint, plant fibers, textile, cowrie shells, glass, wood, monkey pelt, feathers. Brooklyn Museum; Robert B. Woodward Memorial Fund, 22.1582. (Photo: Brooklyn Museum) 

Guy Marineau (French, born 1947). Pat Cleveland on the dance floor during Halston's disco bash at Studio 54, 1977. (Photo: Guy Marineau / WWD / Shutterstock) 

John Edmonds (American, born 1989). Two Spirits, 2019. Archival pigment photograph. Courtesy of the artist and Company, New York. © John Edmonds 

Face and Shoulder from an Anthropoid Sarcophagus, 332–30 B.C.E. Black basalt. Brooklyn Museum; Charles Edwin Wilbour Fund, 37.1516E. (Photo: Brooklyn Museum) 

Lorraine O'Grady (American, born 1934). Rivers, First Draft: The Woman in the White Kitchen tastes her coconut, 1982/2015. Digital chromogenic print from Kodachrome 35mm slides in 48 parts. Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York