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Charles Guice

@charlesguice

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Art adviser, curator, mentor, strategist, and writer. Personal account for @guiceprojects. I once drove across the U.S. to meet Ansel Adams. New York

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Across decades of photography, installation and performance, @carriemaeweems has returned to the structures through which power and memory become visible, from photographing herself among Rome’s monumental architecture for her Roaming series to Contested Sites of Memory, which used the decommissioning of Confederate statues in Richmond, Virginia, to examine the narratives surrounding monuments. ‘What happens to a man who has been celebrated in some way, but there is no monument built in his name?’ she asked during the performance, recalling her grandfather Frank Weems.

Now, that enquiry moves into public space with 250 and Change (@250andchange). Launched by Weems’ nonprofit artist collective Social Studies 101 on 4 July, the 250th anniversary of the founding of the United States, the travelling project invites 50 artists, representing each state, to create 50 original ‘monuments for a future’. Over the next two years, their maquettes, sculptures, paintings, scale models and sketches will travel across the country in containers designed by Elizabeth Diller, co-founder of Diller Scofidio + Renfro (@diller_scofidio_renfro), stopping at cultural institutions, museums, universities and public spaces. It turns the monument from something fixed into something that travels, asking what should be remembered, what deserves space, and what a monument might become in 21st-century America. In our October Guest Editors’ issue, American art advisor and writer @charlesguice considers Weems’ work, from Roaming and The Shape of Things to 250 and Change.

Read the full story via the link in bio or at wallpaper.com.

(2) The Cool Blue Wind at the Obama Presidential Center in Chicago (courtesy of the Obama Foundation)
(3) The Shape of Things, Park Avenue Armory, New York, 2021, photographed by Stephanie Berger and Dan Bradica
(4) Contested Sites of Memory at New York’s Lincoln Center, photographed by Tate Horan
(5) 250 and Change, the travelling public art project by Social Studies 101

📷: @carriemaeweems
🖊: @charlesguice by @charlesguice

@visualstudiesworkshop’s gala celebrating @dawoudbey last weekend was a two-day affair, and on Sunday afternoon he joined VSW’s curator @hernease Davis in conversation. I first met Dawoud over twenty years ago and, as you might imagine, I’ve heard him speak many times. Still, the discussion was compelling and wide-ranging, and I enjoyed discovering new facets of his work. by @charlesguice

@hannah.frieser and I drove to Rochester yesterday to attend @visualstudiesworkshop’s gala celebrating @dawoudbey. Dawoud’s ties to the VSW date back to 1989, when he was an artist-in-residence, “capturing compelling images of Rochesterians as part of [his] landmark series”, ‘Street Portraits’. But Dawoud, an internationally acclaimed photographer, educator and MacArthur Fellow, received more than just a gala, Mayor Malik Evans proclaimed 3 October 2026 “Dawoud Bey Day”. It was a genuine pleasure to share in the festivities with him. The honours were richly deserved. by @charlesguice

Who decides what is beautiful? Is beauty an experience or a norm? From the classical myth to the digital filter, works from @hmorriscafiero’s series “The Bully Pulpit” and “Weight Bearing” are featured prominently in @cccb_barcelona’s new exhibition, “The Cult of Beauty”, that takes a critical look at the construction of canons of beauty, from Antiquity to the present day, and analyses the role played by art, society, politics, religion and medicine. Curated by @janicecyli, @blanc4rias and Júlia Llull (@la_histeriadelarte).

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El culte a la bellesa (The Cult of Beauty)
21 de maig – 8 de novembre 2026
Centre de Cultura Contemporània de Barcelona

#HaleyMorrisCafiero #TheBullyPulpit #WeightBearing #exhibitions #BellesaCCCB WellcomeCollection janicecyli blanc4rias la_histeriadelarte exposició bellesa by @charlesguice

Who decides what is beautiful? Is beauty an experience or a norm? From the classical myth to the digital filter, works from @hmorriscafiero’s series “The Bully Pulpit” and “Weight Bearing” are featured prominently in @cccb_barcelona’s new exhibition, “The Cult of Beauty”, that takes a critical look at the construction of canons of beauty, from Antiquity to the present day, and analyses the role played by art, society, politics, religion and medicine. Curated by @janicecyli, @blanc4rias and Júlia Llull (@la_histeriadelarte).

—————

El culte a la bellesa (The Cult of Beauty)
21 de maig – 8 de novembre 2026
Centre de Cultura Contemporània de Barcelona

#HaleyMorrisCafiero #TheBullyPulpit #WeightBearing #exhibitions #BellesaCCCB

exposició bellesa by @charlesguice

Happy Birthday, @carriemaeweems. I’d say, “Make it count!”, but for as long as I’ve known you, you’ve never needed the imprimatur of anyone. #carriemaeweems #happybirthday #celebrate by @charlesguice

Like so many, I’m truly saddened by the death of Nancy Lane, a dear friend who died earlier this week. I first met Nancy at Aipad, even before I became an art dealer over twenty-one years ago, after being introduced to her by Bruce Davidson, who considered her “a close friend”.

Nancy had just retired from Johnson & Johnson’s when we met. Yet I would later learn that she was the first female vice president—and the first Black—to be named to J&J’s executive board. But that day—a day where we talked for more than two hours—she began by remarking on the dearth of work by Black artists by saying, “there isn’t much here for us”.

Nancy and I became close over the years, drawn together by a love of art, and a number of artists—particularly Carrie and Hank—benefited in ways that they’ll never know because of it. And from small gatherings at her beautifully appointed, art-filled apartment; to quiet lunches and dinners together; and to private chats with friends who clearly knew her well, such as Amiri Baraka and Vernon Jordan; I had the pleasure to see Nancy’s wit, her intelligence, and her graciousness more times that I can remember. And how could I not mention Nancy beaming in my booth at Aipad’s preview that evening in 2009, when I exhibited as the first Black member.

From late night calls to holidays that we’ll never take, I will miss her terribly. But Nancy’s achievements throughout her life will last for years to come. Rest in peace, Nancy.

https://www.nytimes.com/2022/04/01/arts/nancy-lane-dead.html

@alvindhall @carriemaeweems @hankwillisthomas @dawoudbey @studiomuseum @themuseumofmodernart by @charlesguice