Past Exhibitions 2019

Beauty and Bite

Installation view, Beauty and Bite, Tang Teaching Museum, July, 2019, photo by Jeremy Lawson

Installation view, Beauty and Bite, Tang Teaching Museum, July, 2019, photo by Jeremy Lawson

Installation view, Beauty and Bite, Tang Teaching Museum, July, 2019, photo by Jeremy Lawson

Installation view, Beauty and Bite, Tang Teaching Museum, July, 2019, photo by Jeremy Lawson

Installation view, Beauty and Bite, Tang Teaching Museum, July, 2019, photo by Jeremy Lawson

Nan Goldin, Trixie on the cot, New York City 1979, from The Ballad of Sexual Dependency, Cibachrome, 16 ¼ x 20 ¼ x 1 inches (framed), Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2018.39.1.9

Glenn Ligon, detail from Runaways, 1993, series of 10 lithographs, 16 x 12 inches, Tang Teaching Museum collection, gift of Jack Shear

Beauty and Bite presents work by Nayland Blake, Nan Goldin, Nancy Grossman, William Kentridge, Glenn Ligon, Frank Moore, Jim Self, and Kara Walker from the Tang Teaching Museum collection. Significant works by each artist include Kentridge’s Tango for Page Turning; Ligon’s Runaways; Moore and Self’s Beehive film with Moore’s costume and set designs and exploratory sketches; and Walker’s 27-screenprint series The Emancipation Approximation.

The exhibition’s title draws from Frank Moore’s New York Times obituary, which describes the artist as bringing “beauty and bite to themes of scientific progress, environmental pollution and the medical establishment.” This push-and-pull concept extends to all work on view, which offers both aesthetic seduction and interrogations of deeper truths. Film, prints, photographs, sculpture, and drawings shown in Beauty and Bite use theatricality, appropriation, and other means to interrogate time and memory—particularly the mythologies and histories that often disguise or suppress harsh realities—as well as social constructions of identity.

Beauty and Bite is curated by Mellon Collections Curator Rebecca McNamara and is supported by Accelerate: Access and Inclusion at the Tang Teaching Museum, a project of The Andrew W. Mellon Foundation.

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1983-1984
marker on paper

Kara Walker
The Emancipation Approximation [Scene 7], 1999-2000
screen print on Somerest 500G paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, probably early 1980s
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
pen, marker on paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Nan Goldin
Trixie on the cot, New York City 1979 [from The Ballad of Sexual Dependency], 1979
Cibachrome print

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker, charcoal on paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker, gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1983-1984
ink on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Nan Goldin
Cookie with Max in the hammock, Provincetown, Mass. 1977 [from The Ballad of Sexual Dependency], 1977
Cibachrome print

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, probably early 1980s
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache on paper

Kara Walker
The Emancipation Approximation [Scene 12], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 1], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 4], 1999-2000
screen print on Somerest 500G paper

Nancy Grossman
Rust & Blue (Yuma), 1967
leather, metal, wood assemblage on vinyl fabric mounted on plywood

Kara Walker
The Emancipation Approximation [Scene 8], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 10], 1999-2000
screen print on Somerest 500G paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self (Zinnia), c. 1985-1987
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1985-1987
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Frank Moore, Jim Self
Beehive, 1985
16mm film transferred to digital video

Kara Walker
The Emancipation Approximation [Title], 1999-2000
screen print on Somerest 500G paper

Nayland Blake
Untitled, 1999
graphite on cardboard

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1983-1984
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
gouache, pencil on paper

Kara Walker
The Emancipation Approximation [Scene 11], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 17], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 18], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 5], 1999-2000
screen print on Somerest 500G paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, early 1980s
marker, pencil on paper

Kara Walker
The Emancipation Approximation [Scene 2], 1999-2000
screen print on Somerest 500G paper

Nan Goldin
Getting high, New York City 1979 [from The Ballad of Sexual Dependency], 1979
Cibachrome print

William Kentridge
Tango for Page Turning, 2012-2013
Single-channel HD video

Kara Walker
The Emancipation Approximation [Scene 15], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 19], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 24], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 23], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 22], 1999-2000
screen print on Somerest 500G paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, probably early 1980s
pen, marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1985-1987
marker on paper

Nan Goldin
Nan on Brian’s lap, Nan’s birthday, New York City 1981 [from The Ballad of Sexual Dependency], 1981
Cibachrome print

Nan Goldin
Cookie and Vittorio’s wedding, New York City 1986 [from The Ballad of Sexual Dependency], 1986
Cibachrome print

Kara Walker
The Emancipation Approximation [Scene 14], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 9], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 26], 1999-2000
screen print on Somerest 500G paper

Kara Walker
The Emancipation Approximation [Scene 13], 1999-2000
screen print on Somerest 500G paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Glenn Ligon
detail from Runaways, 1993
lithograph

Nan Goldin
Nan after being battered 1984 [from The Ballad of Sexual Dependency], 1984
Cibachrome print

Kara Walker
The Emancipation Approximation [Scene 16], 1999-2000
screen print on Somerest 500G paper

Nayland Blake
The Little One, 1994
nylon suit over porcelain form, ribbon

Kara Walker
The Emancipation Approximation [Scene 3], 1999-2000
screen print on Somerest 500G paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
pigment and graphite on paper

Kara Walker
The Emancipation Approximation [Scene 6], 1999-2000
screen print on Somerest 500G paper

Nan Goldin
Suzanne and Brian on the beach, Coney Island 1982 [from The Ballad of Sexual Dependency], 1982
Cibachrome print

Nan Goldin
Heart-shaped bruise, New York City 1980 [from The Ballad of Sexual Dependency], 1980
Cibachrome print

Nan Goldin
Cookie at Tin Pan Alley, New York City 1983 [from The Ballad of Sexual Dependency], 1983
Cibachrome print

Kara Walker
The Emancipation Approximation [Scene 21], 1999-2000
screen print on Somerest 500G paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
crayon, gouache on Canson Mi-Teintes paper

Frank Moore
drawing for “Beehive” [from set of 19 drawings included with April 16, 1986, letter from Frank Moore to Barry Colsett, Boston Ballet], c. 1985-1986
ink on paper

Kara Walker
The Emancipation Approximation [Scene 20], 1999-2000
screen print on Somerest 500G paper

Nan Goldin
Nan and Brian in bed, New York City 1983 [from The Ballad of Sexual Dependency], 1983
Cibachrome print

Five seated people laugh while eating cake on a grassy lawn beside a blue body of water.

Nan Goldin
Picnic on the Esplanade, Boston 1973 [from The Ballad of Sexual Dependency], 1973
Cibachrome print

Kara Walker
The Emancipation Approximation [Scene 25], 1999-2000
screen print on Somerest 500G paper

Glenn Ligon
detail from Runaways, 1993
lithograph

Glenn Ligon
detail from Runaways, 1993
lithograph

Glenn Ligon
detail from Runaways, 1993
lithograph

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1987
marker on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker on paper

Nan Goldin
Man and woman in slips, New York City 1980 [from The Ballad of Sexual Dependency], 1980
Cibachrome print

Nan Goldin
Bruce on top of French Chris, Fire Island, N.Y. 1979 [from The Ballad of Sexual Dependency], 1979
Cibachrome print

Nan Goldin
Suzanne crying, New York City 1985 [from The Ballad of Sexual Dependency], 1985
Cibachrome print

Glenn Ligon
detail from Runaways, 1993
lithograph

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
marker, gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, c. 1984-1985
pencil, crayon, gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self (Joker), probably early 1980s
pencil, gouache on paper

Frank Moore
drawing for “Beehive” by Frank Moore and Jim Self, probably early 1980s
gouache on paper

Glenn Ligon
Runaways, 1993
10 lithographs

Exhibition Name

Beauty and Bite

Exhibition Type

Group Exhibitions

Place

Malloy Wing

Dates

Jul 20, 2019 - Jan 19, 2020

Curators

Beauty and Bite is curated by Mellon Collections Curator Rebecca McNamara.

Artists

Nayland Blake, Nan Goldin, Nancy Grossman, William Kentridge, Glenn Ligon, Frank Moore, Jim Self, Kara Walker

Student Staff

Olivia Sessions

Exhibitions and Collections Assistant, Gallery Monitor Associate

Jane Cole

2019-20 Carole Marchand Endowed Intern, Student Advisory Council, past: Exhibitions and Collections Assistant, Gallery Monitor Associate

Past related events

View the full calendar

Nov 16, 2019, 2 PM

Family Saturday: Futuristic Environments

Oct 26, 2019, 3 PM

Family Saturday: Moving Images for Tweens

Oct 26, 2019, 1 PM

Family Saturday: Moving Images

Oct 17, 2019, 7:30 PM

Tang Teen Studio: Moving Images

Oct 10, 2019, 12 PM

Visual Reading with Kara Walker’s The Emancipation Approximation

Sep 10, 2019, 12 PM

Curator’s Tour with Rebecca McNamara

Jul 27, 2019, 2 PM

Family Saturday: Funky Storyboards

Jul 23, 2019, 12 PM

Curator’s Tour with Rebecca McNamara

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