{"id":163899,"date":"2025-09-23T13:40:07","date_gmt":"2025-09-23T13:40:07","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/163899\/"},"modified":"2025-09-23T13:40:07","modified_gmt":"2025-09-23T13:40:07","slug":"simone-leighs-monumental-royal-academy-show-set-for-2027-art","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/163899\/","title":{"rendered":"Simone Leigh\u2019s \u2018monumental\u2019 Royal Academy show set for 2027 | Art"},"content":{"rendered":"<p class=\"dcr-130mj7b\">The Royal Academy will in 2027 host the first major UK exhibition by Simone Leigh, four years after she became the <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2022\/apr\/25\/cyborgs-sirens-singing-murderer-best-oligarch-free-venice-biennale\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">first African American woman to represent the US at the Venice Biennale<\/a>. <\/p>\n<p>Leigh told the Guardian she would bring a series of new \u201cmonumental work\u201d to London in September 2027, focusing on themes including architecture, art made under fascism and her own connection \u2013 via her Jamaican heritage \u2013 to the UK.<\/p>\n<p class=\"dcr-130mj7b\">\u201cI\u2019ve been thinking about American history a lot in the development of these works because we\u2019re now living under full-on fascism here,\u201d she said. \u201cI\u2019ve been thinking about the kind of art that\u2019s made under fascism.\u201d<\/p>\n<p class=\"dcr-130mj7b\">Leigh said she had been shocked by the complicity of some US institutions as the Trump administration <a href=\"https:\/\/www.theguardian.com\/commentisfree\/2025\/aug\/27\/why-trumps-attack-on-the-smithsonian-matters\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">conducted its \u2018anti-woke\u2019 attacks<\/a>, saying the situation was reminiscent of the <a href=\"https:\/\/www.theguardian.com\/us-news\/2025\/sep\/16\/charlie-kirk-shooting-trump-progressive-groups\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">McCarthy era<\/a>.<\/p>\n<p>Simone Leigh: \u2018It\u2019s getting a little scary.\u2019 Photograph: Paul Mpagi Sepuya<\/p>\n<p class=\"dcr-130mj7b\">She said: \u201cI don\u2019t know if you noticed what happened really early on with Columbia [University]. They were almost doing a \u2018prophylactic fascism\u2019. They weren\u2019t even waiting to be told to expel students and put down all protests \u2026 I guess you would have to go back to a McCarthy era to see this kind of obedience.\u201d<\/p>\n<p class=\"dcr-130mj7b\">\u201cAll institutions are under attack,\u201d she added. \u201cI know of artists who have signed contracts to do commissions and these commissions have been either stalled or cancelled for anti-DEI reasons. So it\u2019s really happening \u2026 I\u2019m more than concerned, it\u2019s getting a little scary.\u201d<\/p>\n<p class=\"dcr-130mj7b\">The Royal Academy show will be the largest to date for Leigh, who is 57 but was in her 40s before the wider art world began to take note of her work, which was often in the form of ceramics that critics dismissed as a \u201c<a href=\"https:\/\/www.newyorker.com\/magazine\/2022\/03\/28\/the-monumental-success-of-simone-leigh\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">material for hobbyists or studio potters<\/a>\u201d.<\/p>\n<p class=\"dcr-130mj7b\">She has had a meteoric rise over the past 15 years, becoming an artist whose work connected Black Lives Matter to older movements, while also chiming with the theory of African American public intellectuals such as <a href=\"https:\/\/www.theguardian.com\/books\/2023\/mar\/31\/what-were-reading-writers-and-readers-on-the-books-they-enjoyed-in-march\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Christina Sharpe<\/a>.<\/p>\n<p class=\"dcr-130mj7b\">Leigh grew up in Chicago, attending an evangelical church where her father was the preacher, before going to college and eventually living in a yurt near Charlottesville, Virginia, with a group of would-be ceramicists.<\/p>\n<p class=\"dcr-130mj7b\">She said: \u201cBecause the show\u2019s in <a href=\"https:\/\/www.theguardian.com\/uk\/london\" data-link-name=\"in body link\" data-component=\"auto-linked-tag\" rel=\"nofollow noopener\" target=\"_blank\">London<\/a>, it\u2019s been making me hyper-focus what it means, my personal history, and what ties I have to London, which is really only through my parents, who were [born in Jamaica as] British subjects.\u201d<\/p>\n<p class=\"dcr-130mj7b\">She often works with clay, sometimes casting models into other materials such as bronze. Her sculpture Brick House, made in 2019, sat on the High Line in New York, and was <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2022\/apr\/24\/59th-venice-biennale-2022-review-the-womens-biennale\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">part of The Milk of Dreams<\/a>, the title of her Golden Lion-winning Venice Biennale show.<\/p>\n<p class=\"dcr-130mj7b\">The show\u2019s curator, Tarini Malik, said: \u201cIn terms of representing the breadth of her career, there are only a few spaces that can hold her work in that way.\u201d<\/p>\n<p class=\"dcr-130mj7b\">Leigh\u2019s breakthrough moment came in 2012 with the You Don\u2019t Know Where Her Mouth Has Been exhibition at The Kitchen in New York, which included Queen Bee (2008-2012), a \u201c<a href=\"http:\/\/www.artnet.com\/magazineus\/features\/kley\/simone-leigh-the-kitchen-1-27-12.asp\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">menacing chandelier conglomeration of black terracotta forms bristling with defunct TV antennas<\/a>\u201d.<\/p>\n<p class=\"dcr-130mj7b\">At Venice, Leigh hosted the <a href=\"https:\/\/www.teenvogue.com\/story\/simone-leighs-loophole-of-retreat\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">second instalment of her Loophole of Retreat<\/a> event, where speakers, including <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2022\/aug\/01\/four-joyous-girls-in-harlem-how-lorraine-ogrady-showed-that-art-is-for-everyone\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Lorraine O\u2019Grady<\/a>, discussed everything from <a href=\"https:\/\/www.youtube.com\/watch?v=KGrlp-HRp54\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">black feminist ideas<\/a> to post-colonial theory, alongside performances. The first edition was held at the <a href=\"https:\/\/www.guggenheim.org\/exhibition\/hugo-boss-prize-2018\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Guggenheim in New York<\/a>, with queues forming at 8am.<\/p>\n<p class=\"dcr-130mj7b\">The third Loophole of Retreat will take place in London, with a UK curator who is yet to be named working alongside longtime collaborator <a href=\"https:\/\/simoneleighvenice2022.org\/loophole-of-retreat\/\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Rashida Bumbray<\/a>.<\/p>\n<p class=\"dcr-130mj7b\">The Turner Contemporary in Margate will show two of her sculptures \u2013 Bisi (2023) and Untitled (2023\u201324) \u2013 opening on 3 October and displaying until 15 March 2026.<\/p>\n","protected":false},"excerpt":{"rendered":"The Royal Academy will in 2027 host the first major UK exhibition by Simone Leigh, four years after&hellip;\n","protected":false},"author":2,"featured_media":163900,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[76,354,355,49,48,356,75],"class_list":{"0":"post-163899","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-ca","12":"tag-canada","13":"tag-design","14":"tag-entertainment"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/163899","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=163899"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/163899\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/163900"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=163899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=163899"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=163899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}