Grace Before Jones: Camera, Disco, StudioPast Exhibition
- Grace Jones, NYC, 1970s. Photograph by Anthony Barboza
We’ve loved presenting our Grace Before Jones: Camera, Disco, Studio and Jimmy Robert: Akimbo exhibitions. Unfortunately, due to government guidelines around coronavirus, we will not be re-opening these exhibitions. Whilst you might not be able to see the shows in person, we’ve been finding ways to explore the themes of the exhibitions online through virtual reality scans, talks, family activities and things to buy in our shop. Explore our digital content here.
A cross between fan-fiction, study and biography, Grace Before Jones: Camera, Disco, Studio departs from the iconic singer’s career and her collaborations with artists, designers, photographers and musicians to question black image-making and gender binarism as well as both performance and the performance of life.
In 1979, Grace Jones had her face moulded by her collaborator and then-partner Jean-Paul Goude to produce multiple ultra-realist masks. These were intended to be worn by fellow musicians, performers and models, but were also for herself. Grace Jones had multiplied, turned herself into sculpture and serial form – an armada of Grace. Departing from the observation that Grace Jones is not one but multiple, the exhibition Grace Before Jones: Camera, Disco, Studio unfurls a range of Grace Joneses: from disco queen to dub cyborg; Jamaican to French; runway model to nightclub performer; black to white; feminine to masculine.
In embodying these seemingly opposite poles at once, Grace Jones entangles binary systems in style and in flesh. She both exemplifies and complicates theories of gender, sexuality, performance, race and cybernetics, discourses that flourished in parallel to her career. Dexterous in the art of self-reinvention, Jones’ modes of performance can be said to borrow from what academic Daphne Brooks has called ‘the theatricality of blackness’, whose techniques are, in the words of Malik Gaines, ‘able to articulate not the wholeness of black identity, but rather the constructedness of all identity’.
Grace Before Jones presents a multifaceted portrait of the iconic singer. Travelling through time, it also seeks to give both a historical background and contemporary perspective to Grace Jones’ image-making, while expanding on stage design, music and fashion. The exhibition presents itself as an alternative way to write and tell art history.
The exhibition notes can be read here. You can listen to the exhibition interpretation as an audio recording, below.
Exhibition:Grace Before Jones: Camera, Disco, Studio
Dates:26 Sep 2020 – 18 Apr 2021
ACT UP, Derrick Adams, Terry Adkins, Aerographics (Richie Williamson & Dean Janoff), Azzedine Alaïa, El Anatsui, Anthony Barboza, Jean-Michel Basquiat, Richard Bernstein, Alexandra Bircken, The Black Beauty Agency (Betty Forray and Dee Gipson), Paul Bryan, Kim Coleman, Eldzier Cortor, Hans Feurer, Alan Fierstein, Nikita Gale, Ron Galella, Lynn Goldsmith, Jean-Paul Goude, Keith Haring, George Henry Longly, Peter Hujar, Timothy Hursley, Patrick Kelly, William Klein, Tseng Kwong Chi, Timothy Leary with Retinalogic and Genesis P-Orridge, Antonio Lopez, Robert Mapplethorpe, Catherine McGann, Meryl Meisler, Philippe Morillon, Kayode Ojo, Tina Paul, Anton Perich, Paul Pfeiffer, Julia Phillips, Adrian Piper, Jimmy Robert, Martha Rosler, Paul Mpagi Sepuya, Neal Slavin, Ming Smith, Willi Smith, David Spada, Michele Wallace, Andy Warhol, Nicole Wermers and Charles White, with material from the Sigma Sound Studio Archives (Drexel University, Philadelphia).
Cédric Fauq with Olivia Aherne
By architect Borja Velez