{"id":4237,"date":"2026-07-23T14:10:34","date_gmt":"2026-07-23T14:10:34","guid":{"rendered":"https:\/\/agopressroom.ca\/?p=4237"},"modified":"2026-07-23T14:10:34","modified_gmt":"2026-07-23T14:10:34","slug":"studio-54-night-magic-3-2-2-2-2-2-2-2-3-2-2-2-2-2-2-2-2-4-2-2-2-2-2-2-2-2-2","status":"publish","type":"post","link":"https:\/\/agopressroom.ca\/?p=4237","title":{"rendered":"Dawoud Bey: Material Histories, Living Landscapes"},"content":{"rendered":"\n

From acclaimed American artist Dawoud Bey comes a meditation on the tenuous relationships between North American landscapes and Black diasporic experiences.<\/p>\n\n\n\n

This installation features a selection of images from the artist’s three landscape-based projects: In This Here Place <\/em>(2019), Stony the Road<\/em> (2023), and Night Coming Tenderly, Black <\/em>(2017). The centrepiece of this installation is 350,000 <\/em>(2023): a two-channel video that reimagines the journey made by 350,000 enslaved Africans along the Richmond Slave Trail between 1830 and 1860. These works come to the AGO on loan from the Rennie Collection in Vancouver. <\/p>\n\n\n\n

For this presentation, as part of the 2026 Toronto Biennial of Art, Bey worked with Curator Allison Glenn to conceive of the installation as a site-specific work, reflecting on the core curatorial framework of rupture as a generative force. Presented in dialogue with African artworks and objects from the AGO\u2019s Frum Collection, four additional sculptures were selected by Bey to be included in this presentation, visually and historically developing a call and response between West African histories in the United States and Canada and those held in Nigeria, Ghana, and the Kongo\u2014between the arrival and the departure, and the historical rupture manifested by the Middle Passage. These four works continue the narrative which Bey charts with his monumental photographic works, visually representing the enduring dialogues between North America and Africa.<\/p>\n\n\n\n

Dawoud Bey: Material Histories, Living Landscapes<\/em> provides a space for contemplating the enduring legacies of history in the contemporary moment. Presented at the AGO, in partnership with the Toronto Biennial of Art 2026, this exhibition is curated by Allison Glenn, Curator of the 2026 Toronto Biennial of Art, and will be on view through spring 2027.<\/p>\n\n\n\n

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Press Release<\/h3>\n\n\n
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Press Release - Dawoud Bey returns to Toronto with installation exploring landscapes of Black Diasporic history<\/a><\/h3>\n
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Images<\/h3>\n\n\n\n

CONDITIONS OF USE:
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Reproductions must be accompanied by the name of the artist, the title and date of work, the owner credit line, the copyright holder and photo credit. Reproductions must not be cropped, overprinted, tinted or subject to any form of derogatory treatment without the prior approval of the copyright owner.<\/p>\n\n\n\n

For high-resolution, print quality images, please get in touch with media@ago.ca.<\/p>\n\n\n

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Dawoud Bey - Image Caption Sheet<\/a><\/h3>\n
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Additional Materials<\/h3>\n\n\n\n\n\n\n\n\n","protected":false},"excerpt":{"rendered":"

From acclaimed American artist Dawoud Bey comes a meditation on the tenuous relationships between North American landscapes and Black diasporic experiences. This installation features a selection of images from the artist’s three landscape-based projects: In This Here Place (2019), Stony the Road (2023), and Night Coming Tenderly, Black (2017). The centrepiece of this installation is 350,000 (2023): a two-channel video that reimagines the journey made by […]<\/p>\n","protected":false},"author":1,"featured_media":4238,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-4237","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions"],"_links":{"self":[{"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/posts\/4237","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4237"}],"version-history":[{"count":3,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/posts\/4237\/revisions"}],"predecessor-version":[{"id":4255,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/posts\/4237\/revisions\/4255"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=\/wp\/v2\/media\/4238"}],"wp:attachment":[{"href":"https:\/\/agopressroom.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4237"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4237"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/agopressroom.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}