Fall 2024 Issue

The gospel according to
beauty supply

Ryuan Johnson, sculptor and creative director, focuses on the works of Allana Clarke and Lauren Halsey to examine the key place of hair in Black culture. Through image and poetry, Johnson reveals the cultural and historical significance of hair as a medium to discuss identity, community, and the politics of representation.

<p>Photo: Ese Gagoh</p>

Photo: Ese Gagoh

Photo: Ese Gagoh

Looking at the work of Allana Clarke and Lauren Halsey, I feel a deep connection to the beauty supply store, a pivotal institution in Black hair culture. This space serves as a mecca nurturing transformation, enhancement, and self-esteem. The beauty supply store is almost synonymous with the experience of being a Black woman.

Both Halsey and Clarke represent Black hair culture in unique and compelling ways. Halsey’s work glorifies and preserves the vibrance of braiding hair and the creativity of traditional Black hairstyles. Her art showcases Black hair culture in a fantastical, empowering, and culturally rich light. It represents the avant-garde, free, and expressive nature of Black hair, beautifully capturing these styles as a time capsule, offering a glimpse into the evolving era of Black hair.

Lauren Halsey, Untitled, 2024, synthetic hair and mirror on wood, 120 × 56 × 8 inches (304.8 × 142.2 × 20.3 cm) © Lauren Halsey. Photo: Allen Chen

Allana Clarke, Witness Me, 2024, 30 Sec. hair bonding glue (rubber latex and black carbon dye), 69 × 43 × 27 inches (175.3 × 109.2 × 68.6) © Allana Clarke. Photo: Jeff McLane

Clarke on the other hand focuses on track glue, a product used in Black hair-styling. Her sculptures made from this glue critique its use, because, despite allowing for expressive hairstyles, it can cause traction alopecia. Clarke uses track glue as a metaphor for the pressures Black women face in society. She speaks to the way we sometimes conform to beauty standards even if they harm us, pointing out the struggle between beauty and survival in a world where hair can influence our opportunities and relationships. Track glue represents this tension.

Clarke’s work is about the lengths we go to fit in and be seen as special, often by aligning with unnatural standards. It critiques how society dictates our worth through beauty standards. Halsey’s art celebrates the creativity and heritage of Black hair, while Clarke examines its complex effects. Both artists are connected by the beauty supply store, the only place to find both braiding hair and track glue.

I feel a deep connection to the beauty supply store, a pivotal institution in Black hair culture. This space serves as a mecca nurturing transformation, enhancement, and self-esteem.

Ryuan Johnson

“The Gospel according to the Beauty Supply” is my response to the impact of the beauty supply store on both artists’ work and on Black hair culture. I compare the beauty supply store to a church because it’s a place where we go to transform, feel better about ourselves, and feel safe. Finding the right pack of hair, the right earrings, or the right do-rag can be as uplifting as a spiritual experience, making the beauty supply store a place of worship in its own right. But like religion, the beauty supply store has its darker side: sometimes we go there to conform out of insecurity, and some of its products, like track glue or perms, can have long-term health effects. Despite this, the beauty supply store is a crucial part of Black life, offering comfort and connection even when it demands conformity.

Collage by Ryuan Johnson; post by @yagirlaley


Untitled

The church bells ring

I go in because I feel this place knows me

Bonnets sacred as halos

Rush to receive Communion

We looking to find god

or

Blue Magic grease

No difference

Where we from

$20s, $50s, hunnids pass in offering trays

    We tithe for salvation

    Or

Knotless braids

as if there’s a difference

    Where we from

Everyone in the aisles

Jumping, exalting, beaming

We all feel the Holy Spirit

Or a fresh bundle

Or a new outlook on life

Or a Dr. Miracle’s hair-growth oil

We don’t know there to be a difference

Social Abstraction, Gagosian, Beverly Hills, July 18–August 30, 2024

Social Abstraction, Gagosian, Hong Kong, September 10–November 2, 2024

The “Gagosian & Social Abstraction” supplement also includes: “The Building Blocks: Amanda Williams & Alteronce Gumby,” “Kahlil Robert Irving & Cameron Welch,” “Rick Lowe & Beasley,” “Devin B. Johnson,” “Cy Gavin,” and “Kyle Abraham

Black and white portrait to Ryuan Johnson

Ryuan Johnson is a Chicago-based sculptor and creative director who primarily works with hair. Introduced to braiding as a form of self-care in her youth, Johnson views hair as both a means of self-expression and a reflection of her emotional and mental states. Her grandmother’s work in a hair salon influenced her understanding of the cultural significance of hair. Johnson’s sculptural pieces, which resemble glimmering chandeliers and sprawling canopies, represent pride, confidence, and culture, using hair to communicate an affective universe in her creative direction and art.

“I Can’t Accept to Act Like a Zombie”: Enzo Mari and Design’s Utopian Impulse

“I Can’t Accept to Act Like a Zombie”: Enzo Mari and Design’s Utopian Impulse

The exhibition Enzo Mari, curated by Hans Ulrich Obrist with Francesca Giacomelli at the Design Museum, London, runs through September 8. Taking a cue from this major retrospective, Bartolomeo Sala delves into Mari’s practice and convictions.

Artist, Audience, Accomplice

Artist, Audience, Accomplice

Sydney Stutterheim has published Artist, Audience, Accomplice: Ethics and Authorship in Art of the 1970s and 1980s (Duke University Press, 2024), a survey of performance art and related practices that involve, in various manners, the figure of the accomplice. To celebrate the publication, the Quarterly is publishing an excerpt that examines Chris Burden’s Deadman (1972).

Roy

Roy

Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.

David Cronenberg: The Shrouds

David Cronenberg: The Shrouds

David Cronenberg’s film The Shrouds made its debut at the 77th edition of the Cannes Film Festival in France. Film writer Miriam Bale reports on the motifs and questions that make up this latest addition to the auteur’s singular body of work.

Game Changer: Richard Marshall

Game Changer: Richard Marshall

Alison McDonald celebrates the life of curator Richard Marshall.

Bauhaus Stairway Mural

Bauhaus Stairway Mural

Alice Godwin and Alison McDonald explore the history of Roy Lichtenstein’s mural of 1989, contextualizing the work among the artist’s other mural projects and reaching back to its inspiration: the Bauhaus Stairway painting of 1932 by the German artist Oskar Schlemmer.

Trevor Horn: Video Killed the Radio Star

Trevor Horn: Video Killed the Radio Star

The mind behind some of the most legendary pop stars of the 1980s and ’90s, including Grace Jones, Pet Shop Boys, Frankie Goes to Hollywood, Yes, and the Buggles, produced one of the music industry’s most unexpected and enjoyable recent memoirs: Trevor Horn: Adventures in Modern Recording. From ABC to ZTT. Young Kim reports on the elements that make the book, and Horn’s life, such a treasure to engage with.

The Sound Before Sound: Éliane Radigue

The Sound Before Sound: Éliane Radigue

Louise Gray on the life and work of Éliane Radigue, pioneering electronic musician, composer, and initiator of the monumental OCCAM series.

Fake the Funk

Fake the Funk

Tracing the history of white noise, from the 1970s to the present day, from the synthesized origins of Chicago house to the AI-powered software of the future.

Inconsolata: Jordi Savall

Inconsolata: Jordi Savall

Ariana Reines caught a plane to Barcelona earlier this year to see A Sea of Music 1492–1880, a concert conducted by the Spanish viola da gambist Jordi Savall. Here, she meditates on the power of this musical pilgrimage and the humanity of Savall’s work in the dissemination of early music.

My Hot Goth Summers

My Hot Goth Summers

Dan Fox travels into the crypts of his mind, tracking his experiences with goth music in an attempt to understand the genre’s enduring cultural influence and resonance.

Jim Shaw: A–Z

Jim Shaw: A–Z

Charlie Fox takes a whirlwind trip through the Jim Shaw universe, traveling along the letters of the alphabet.