Mitchell-Innes & Nash congratulates Pope.L on Instigation, Aspiration, Perspiration, a trio of complementary exhibitions of his work in New York organized by the Museum of Modern Art, the Whitney Museum of American Art and Public Art Fund to occur simultaneously in the fall of 2019.
Through a combination of archival videos, photographs, ephemera, sculptural elements, and live actions, MoMA will present a survey of thirteen early landmark performances, spanning from 1978-2001, that helped define Pope.L's career and are representative of his core concerns. Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art, with Danielle A. Jackson, Curatorial Assistant, Department of Media and Performance Art.
For the Whitney Museum and on the occasion of his receipt of the 2017 Bucksbaum Award, Pope.L expands upon his ongoing exploration and use of water with Choir, a new installation inspired by the fountain, the public arena and John Cage’s conception of music and sound. Organized by Christopher Y. Lew, Nancy and Fred Poses Curator, with Ambika Trasi, curatorial assistant, Whitney Museum of American Art.
Inspired by his provocative, decades-long crawls, Pope.L will unveil his largest and most ambitious crawl to date. Titled Conquest, the project will involve members of the public to explore the potential and power of collective action. Organized by Public Art Fund Director & Chief Curator Nicholas Baume.
Mitchell-Innes & Nash congratulates Pope.L on member: Pope.L, 1978–2001, an exhibition of landmark performances and related videos, objects and installations at the Museum of Modern Art in New York, on view October 21, 2019 through February 1, 2020. MoMA's presentation is part of Pope.L: Instigation, Aspiration, Perspiration, a trio of complementary exhibitions organized by MoMA, the Whitney Museum of American Art and Public Art Fund.
800 gallons of water is an abstract concept, until you see its volume cascade before your eyes into a cavernous holding tank. Then, that amount of water becomes visceral. It’s mesmerizing to sit before a specific amount of water, and contemplate the ways we use, exploit, and waste this most important of resources on a regular basis. This is the experience of witnessing Choir (2019), artist Pope.L’s gallery-filling installation currently on view at the Whitney Museum of American Art.
“I got my own cultural anorexia,” the performance and visual artist Pope.L (formerly known as William Pope.L) wrote in his 1997 manifesto, “Notes on Crawling Piece,” declaring what he deemed a binge-and-purge relationship to modern art (despite the clinically inaccurate metaphor). “It’s kinda racy, / I get down on my belly and crawl till I’m reality.”
Pope.L has perfected crawling as his particular kind of disruption. He has traversed a substantial portion of New York City (and parts of Europe) on his hands, knees, stomach, and elbows, wearing everything from a Superman costume to a sports jersey and Nike sneakers. For his inaugural crawl, in 1978, the artist slowly made his way down Forty-second Street, passing Times Square, wearing a pin-striped suit with a yellow square stitched onto its back.
In 1978, Pope.L got on his hands and knees in a suit and safety vest, and made his way through the bustling crowds of Midtown Manhattan. Titled Times Square Crawl a.k.a. Meditation Square Piece, his performance combined a disturbance in public space with abjection and perverse humor, setting the tone for his subsequent experiments with what it means to make art and move through the world as a black man.
Pope.L deals in place, space, and traces. Since the 1970s, the artist has created provocative interventions in public spaces and work that experiments with language and material. With an affinity for the trope of the “trickster,” his work often provokes reconsiderations of societal conventions through an adjacency with the absurd.
Since the late 1970s, Pope.L has worked in performance, video, drawing, installation, sculpture and teaching, troubling facile readings of the machinations that govern the relationships between race, labour, capitalism and materiality. His practice traverses genres in an attempt to reckon with everything from the tenuousness of Black masculinity in public space to the lingering economic effects of post-industrial America.
The Chicago-based adept Pope.L is a triple threat in New York this fall, with concurrent shows at the Whitney and moma and a recent Public Art Fund performance for which some hundred and fifty participants put their bodies through punishing paces, re-creating one of his legendary mile-long crawls. Pope.L’s Manhattan gallery pays homage to his body-centric concerns in this dynamic exhibition, which combines text works from his series “Skin Sets” with paintings by a trio of young rising stars: Jonathan Lyndon Chase, Cheyenne Julien, and Tschabalala Self.
Five men and women, each missing a shoe and encumbered with a flashlight in one hand, came belly down to the ground. They began to crawl along the gritty, unsavory New York City sidewalk, led by a marshal perfuming the air and sweeping the ground before them — and serenaded by a trumpeter playing melancholic riffs. The procession stopped traffic and drew people out of shops and restaurants, wondering what was going on.
The crawlers knew where to go by following the sound of a trumpet.
It was bright and early in New York at Corporal John A. Seravalli Playground when a group was congregating to kick off Conquest, artist Pope.L’s performance in which participants would drag themselves across a predetermined path. Organized by the Public Art Fund, this was a new work in a lineage of past “crawl” pieces by Pope.L, who was on hand on Saturday to tell the crowd that he hoped to cause a stir.
Starting at 9:45am on Saturday, winding up in the gutter will take on literal meaning as 140 complete strangers get on their bellies to crawl in the street while fellow New Yorkers cheer them on. No, this isn’t some mas[s]ochistic exercise: It’s a performance piece orchestrated by the multi-media artist known as Pope.L. Conquest, as it’s called, is part of a series of crawls that Pope.L has undertaken over his 40-year career, though it represents something of a departure, since he previously conducted them on his own.
Conquest, Pope.L’s most recent performance project, engages his largest and most public cast to date. Commissioned by the Public Art Fund (PAF), the September 21st “crawl” is also more procedurally detailed, and more apparently and explicitly mocking, than previous crawls. When I spoke with Pope.L in late summer, he insisted he was not participating in the crawl, but just as soon acknowledged that he has never been able to keep himself from crawling, at least a little bit, alongside the participants.
This Saturday, 140 New Yorkers will get down and seriously dirty in the filthy streets of Manhattan as they crawl on all fours for the sake of a bizarre performance piece about “physical privilege” by veteran “crawl artist” Pope.L. Participants will provide onlookers with an unsettling scene as they slither along a winding, 1 1/2-mile route that starts at Cpl. John A. Seravalli Playground in the West Village and ends on the south steps of Union Square Park, according to a press release.
The interdisciplinary artist Pope.L is the creator of several now-legendary performance-art works that explore the conditions of abjection, black masculinity, and racism with bracing irony. On September 21, 2019, he will orchestrate his latest iteration of these pieces in Lower Manhattan: Entitled Conquest, this performance will involve 140 participants.
“I don’t know if you’ve ever crawled in New York, but being that low to the ground, you experience all kinds of things,” says Pope.L. And he would know — the 64-year-old performance artist has decades of experience crawling at this point. For his latest piece, “Conquest,” the Newark native recruited some 140 strangers from various boroughs, walks of life, ages, and abilities to crawl, in a relay format, the 25 city blocks from the Corporal John A. Seravalli Playground in the West Village to Union Square.
Since the 1970s, the artist known as Pope.L has made works that explore racism, poverty, class inequality and consumerism in ways that are sometimes satirical, often biting, but always strangely moving. He is best identified by his “crawls,” in which he drags himself, positioned on his stomach — occasionally dressed in a business suit or as Superman, either alone or with a large group of participants — along the path of a city street. His most ambitious performance of this nature will be on Saturday in New York City: More than 100 people will crawl a one-and-a-half-mile-long route from the West Village to Union Square, passing through the arch of Washington Square Park.
As New York’s museums and galleries gear up for their fall and winter rosters, there’s a seasonal sense of anticipation that accompanies all these interlocking proceedings. You never know who or what will emerge from the flurry of offerings to produce something truly essential, and it’s clear that the Whitney Museum of American art, MoMA and the Public Art Fund are confident that “Instigation, Aspiration and Perspiration,” their collective exhibition with the interventionist performance artist Pope.L, will prove to be a deeply thoughtful project. Born in Newark, NJ, Pope.L has spent decades making art that interrogates what cities can produce and who metropolitan areas can disempower.
A performance piece in which 140 people will crawl through Greenwich Village is set for Saturday — recreating the artist Pope.L's iconic crawling pieces in New York City.
The performance piece, called "Conquest," forces hand-selected volunteers from a variety of professional backgrounds to crawl through Manhattan's sidewalks, "abandoning their physical privilege, embracing their vulnerability, and expressing the power of collective expression."
Pope.L: Instigation, Aspiration, Perspiration, an ambitious triumvirate of exhibitions by the Public Art Fund, the Whitney Museum of American Art, and The Museum of Modern Art, erupts Saturday with Conquest, his biggest group performance, involving some 140 to 160 people representing the city’s diversity in every manner from race and socioeconomics to range of mobility.
Pope.L will give a Public Art Fund Talk on Fri., Sept. 20, from 6:30 p.m. to 8 p.m., at The Cooper Union, Rose Auditorium, 41 Cooper Union Square, at E. Sixth St. Visual artist and educator Pope.L’s lecture coincides with a major moment for him, when three New York City arts organizations — Public Art Fund, Whitney Museum of American Art and The Museum of Modern Art — will co-present “Instigation, Aspiration, Perspiration,” the title of a singular concept linking a trio of complementary exhibitions: “Conquest,” “Choir” and “member,” which explore Pope.L’s boundary-pushing practice.
After winning the Whitney’s $100,000 Bucksbaum Award in 2017, Pope.L hits the New York institutional trifecta with an extravaganza of three upcoming shows. The Museum of Modern Art will mount a retrospective of the activist-sculptor-painter-provocateur’s work from 1978 to 2001 — including videos of the epic crawls he did on his belly through the streets of New York City dressed as an African-American superhero. Also stay tuned for a mass performance of over 100 volunteers of all races crawling together through the Washington Square arch to Union Square.
We’ve already put together guides to knockout institutional shows to see across the US this fall and what you need to check out in Europe, so now it’s time to take a look at what’s going on this season in museums in New York, where you’re never far from a great exhibition.
ART IN THE 2010S… IS IT EVEN ART? WHAT WILL BE REMEMBERED? WHAT’S BEING REAPPRAISED? WHAT’S COMING NEXT? WHAT MUST WE SAY GOODBYE TO? FOR THE LAST TIME THIS DECADE, LET’S WELCOME A NEW SEASON OF SHOWS IN NEW YORK.
This fall, Manhattan’s most prestigious contemporary art spaces unite to celebrate the career-to-date of the renowned (and underappreciated) artist known as Pope.L.