{"id":418430,"date":"2024-06-14T13:30:00","date_gmt":"2024-06-14T17:30:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=418430"},"modified":"2024-07-19T17:27:49","modified_gmt":"2024-07-19T21:27:49","slug":"african-american-design","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/african-american-design\/","title":{"rendered":"These Top African American Designers Are Having a Moment in D.C."},"content":{"rendered":"\n
\"An
\u201cReclaiming My Time<\/a>,\u201d an exhibition in the new Rhimes Family Foundation Visual Arts Gallery at the Smithsonian\u2019s National Museum of African American History and Culture<\/a>, features furniture by Black designers, including (center, from left to right) Norman Teague’s Sinmi rocking stool, Jomo Tariku<\/a>\u2019s MeQuamya chair, Mark Grattan<\/a>\u2019s Loose Thread stool and Stephen Burks<\/a>\u2019s Traveler armchair. Photo by Mona Makela\/NMAAHC<\/figcaption><\/figure>\n\n\n\n

A chair<\/a> may be categorized as design<\/a> rather than art<\/a>, but it can nonetheless have a meaning that transcends mere function. That\u2019s a lesson from the Smithsonian\u2019s National Museum of African American History and Culture<\/a>, which is inaugurating its new Rhimes Family Foundation Visual Arts Gallery with a show of chairs and other objects that address themes of labor and leisure.<\/p>\n\n\n

\n
\"Amy
Many of the artworks in the show, such as Amy Sherald<\/a>\u2019s 2012 canvas Grand Dame Queenie<\/em>, depict African Americans at leisure. Photo courtesy of the Smithsonian National Museum of African American History and Culture<\/figcaption><\/figure><\/div>\n\n\n

The ongoing exhibition, organized by museum curator Michelle Wilkinson, is titled \u201cReclaiming My Time<\/a>,\u201d a phrase associated with Congresswoman Maxine Waters that has come to mean taking back ownership<\/a> of how you expend your energy and attention. That includes enjoying downtime. As Kevin Young, the director of the museum, noted in an announcement of the gallery\u2019s debut, “Our resilience and rejuvenation depend on our ability to rest well.” <\/p>\n\n\n\n

\"An
Mickalene Thomas<\/a>\u2019s 2010 collage You’re Gonna Give Me the Love I Need<\/em>, left, portrays a woman reclining on a sofa and ottoman.<\/figcaption><\/figure>\n\n\n\n

The exhibition is a rare showcase of African Americans in the design sphere, the significance of their work underscored by the presence of fine art in the same room. Among those represented on the walls are Amy Sherald<\/a>, whose famous portrait of Michelle Obama is just part of her continuing exploration of the meaning of Blackness; Mickalene Thomas<\/a>, whose portraits, in a variety of media, emphasize female power, beauty and sexuality; and Lorna Simpson<\/a>, whose enigmatic conceptual works pose questions of identity through photos.<\/p>\n\n\n\n

\n
\"Furniture<\/figure>\n\n\n\n
\"Furniture<\/figure>\n
Left: Tariku\u2019s MeQuamya chair is inspired by the T-shaped staffs used by Ethiopian Orthodox clergy (photo courtesy of the Smithsonian National Museum of African American History and Culture). Right: The designer perches on his Nyala chair<\/a>, which takes its name and shape from a spiral-horned African antelope (photo by Gediyon Kifle).<\/figcaption><\/figure>\n\n\n\n

Furniture, the exhibition makes clear, can also explore identity. Consider the work of Jomo Tariku<\/a>. Born in Kenya and raised in Ethiopia, he traveled to Kansas to attend MidAmerica Nazarene University. After transferring to the University of Kansas to study art, he discovered an affinity for industrial design. In recent years, the Virginia-based Tariku has become a design star with his Meedo chair<\/a>, shaped like a bent Afro pick; his Ashanti stool, a reinterpretation of the thrones of Ashanti kings; his Nyala chair<\/a>, its form based on the horns of the African mountain antelope; and his MeQuamya chair, inspired by the T-shaped staffs used by Ethiopian Orthodox clergy. The MeQuamya, chosen for the museum show, \u201cinvites you to meditate on the essentials of your life,\u201d Tariku has said.<\/p>\n\n\n\n

\n
\"Furniture<\/figure>\n\n\n\n
\"Furniture<\/figure>\n
Left: Burks sits in his Grasso armchair<\/a>, which he created for BD Barcelona<\/a> (photo by Eugeni Aguil\u00f3). Right: He designed the Traveler outdoor chair for French maker Roche Bobois<\/a> (photo by Mona Makela\/NMAAHC).<\/figcaption><\/figure>\n\n\n\n

Chicago-born Stephen Burks<\/a> trained at the Illinois Institute of Technology (Mies<\/a>\u2019s architecture school) and at Columbia University (where he now teaches), emerging as a diehard modernist<\/a>. But he soon found himself seeking to supplement the mass production typical of that movement with elements of the handmade<\/a>. The approach won him a National Design Award and commissions from important furniture manufacturers. His signature Grasso stools<\/a> and armchairs<\/a> for BD Barcelona<\/a> feature painted steel frames and leather seats stuffed to overflowing. The Smithsonian is showing his Roche Bobois<\/a> Traveler armchair, whose backrest supports a half-dome-shaped hood made of woven leather cords. As the first American designer for the French company, Burks was asked to explore ideas for furniture beyond the reach of European traditions.<\/p>\n\n\n\n

\n
\"Furniture<\/figure>\n\n\n\n
\"Furniture<\/figure>\n
Left: The upholstery on Grattan’s Loose Thread stool is turned inside out (photo courtesy of Cristina Grajales Gallery). Right: Grattan won the HBO Max competition show Ellen\u2019s Next Great Designer<\/em> in 2021 (photo courtesy of Mark Grattan).<\/figcaption><\/figure>\n\n\n\n

Mark Grattan<\/a>\u2019s Loose Thread stool from 2021 expresses both strength and disarray. The version in the museum \u2014 a gift from the designer and New York gallerist Cristina Grajales<\/a> \u2014 was chosen by curator Wilkinson in part because Grattan turned the fabric covering its steel frame inside out, giving it a particularly naturalistic mien. Grattan, an Ohio-raised woodworker and Pratt Institute graduate who divides his time between New York, Mexico and Brazil, is known for provocatively shaped pieces, including a dresser that splays out at the bottom like a mermaid\u2019s tail<\/a>.<\/p>\n\n\n

\n
\"Furniture
Teague balances on one of his Sinmi rocking stools. Photo by Ross Floyd<\/figcaption><\/figure><\/div>\n\n\n

Chicago-based maker Norman Teague named his contribution to the Smithsonian show, a rocking stool that resembles the torso of a hobby horse, Sinmi, a Yoruba word meaning \u201cto relax.\u201d But to sit on it is to confront instability. Teague, who grew up on the South Side of Chicago, spent 10 years at architecture firms where, he says, he was always a \u201ctoken.\u201d Now he is a teacher and mentor at the University of Illinois Chicago and a consultant to the Obama Presidential Center. Sinmi, made of plywood<\/a>, has been compared to the work of important 20th-century designers who used the same material; Teague\u2019s Africana collection, in contrast, employs wood in its natural state.<\/p>\n\n\n

\n
\"Interior
Interior designer Sheila Bridges<\/a> rests on a picnic blanket made from her Harlem Toile fabric, which is included in the exhibition. Her skirt and sneakers feature the same pattern. Photo courtesy of Sheila Bridges<\/figcaption><\/figure><\/div>\n\n\n

Sheila Bridges<\/a>, a Philadelphia native who studied at Brown University and Parsons School of Design, is a renowned interior designer based in Harlem<\/a>. Her narrative-rich rooms<\/a> have attracted such clients as Bill Clinton and Kamala Harris. She is represented in the Smithsonian show by her now-classic Harlem Toile de Jouy. A grasscloth wallcovering introduced in 2006, it mimics French toiles<\/a> of the late 1700s but with scenes of Black people at leisure that, she says, \u201clampoon stereotypes deeply woven into the African American experience.\u201d<\/p>\n\n\n\n

With these pieces plus others in the show and many more that could have been included, African American designers are recasting images of the Black experience, revising the notion of what African American design can be and, yes, reclaiming their time and their space.<\/p>\n","protected":false},"excerpt":{"rendered":"

A chair may be categorized as design rather than art, but it can nonetheless have a meaning that transcends mere function. That\u2019s a lesson from the Smithsonian\u2019s National Museum of African American History and Culture, which is inaugurating its new Rhimes Family Foundation Visual Arts Gallery with a show of chairs and other objects that […]<\/p>\n","protected":false},"author":394,"featured_media":418987,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2024-06-14T17:47:26Z","apple_news_api_id":"1f995523-4a9a-49b3-81c4-e9f8324b441a","apple_news_api_modified_at":"2024-07-19T21:27:57Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAABQ==","apple_news_api_share_url":"https:\/\/apple.news\/AH5lVI0qaSbOBxOn4MktEGg","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[106,15522093],"tags":[15571097,15571098,15571096,15571086,10353273,15570650,15571092,15571095,15571093,15571090,15571094,15571091,15571089,15571087,3126673,15571088,15550281],"dibs-categories":[15565565],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[15571083,15571085,15571084],"dibs-sellers":[],"class_list":["post-418430","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-design-2","category-furniture","tag-african-american-design","tag-african-american-furniture","tag-amy-sherald","tag-black-designers","tag-fred-a-bernstein","tag-fred-bernstein","tag-jomo-tariku","tag-kevin-young","tag-mark-grattan","tag-maxine-waters","tag-michelle-wilkinson","tag-norman-teague","tag-reclaiming-my-time","tag-rhimes-family-foundation-visual-arts-gallery","tag-sheila-bridges","tag-smithsonian-national-museum-of-african-american-history-and-culture","tag-stephen-burks","dibs-categories-dibs-f","dibs-creators-dibs-jomo-tariku","dibs-creators-dibs-mark-grattan","dibs-creators-dibs-stephen-burks"],"acf":{"post_format":"article","subtitle":"A new exhibition inspired by a Maxine Waters meme looks at the role of furniture and decor in rest and resilience.","contributors":{"hide_byline":false,"columnist":[{"ID":361915,"post_author":"1","post_date":"2021-12-14 22:36:30","post_date_gmt":"2021-12-15 03:36:30","post_content":"","post_title":"Fred A. 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