Halima Taha

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The artist George Nelson Preston sometimes can’t believe the characters he has crossed paths with in nearly nine decades...
04/27/2026

The artist George Nelson Preston sometimes can’t believe the characters he has crossed paths with in nearly nine decades of living in New York. Growing up in Sugar Hill in the 1940s, his neighbors included icons from the Harlem Renaissance such as Lena Horne, Count Basie, and Paul Robeson.

“This whole neighborhood was full of Black luminaries,” says Preston. “We had salons on the weekends. We’d meet in someone’s apartment, and there would be music and people would bring food.”

His parents, Mildred and John Lee, the latter a musician, encouraged an early interest in painting, and Preston attended the High School of Music & Art. Later, while studying at City College, he taught at Camp Woodland in the Catskills and met Pete Seeger and the percussionist Babatunde Olatunji. They introduced him to the burgeoning Village scene, where Preston hosted poetry readings at his storefront loft on East 3rd Street. It was called the Artist’s Studio, and Beat poets such as Allen Ginsberg, Amiri Baraka, Gregory Corso, and Frank O’Hara were regulars. “The thick of it went on for two years,” Preston recalls. “Every Sunday afternoon.”

Read more about Preston’s history-filled rowhouse: https://nymag.visitlink.me/UqlyD3

Sam Gilliam’s drape paintings refuse the flatness of the wall — they breathe, gather light, and turn color into choreogr...
04/27/2026

Sam Gilliam’s drape paintings refuse the flatness of the wall — they breathe, gather light, and turn color into choreography. At Pace Gallery, this suspended canvas becomes both a living gesture and a masterclass in innovation, reminding us how radically Gilliam expanded abstraction when he released the canvas from the stretcher.

Color, scale, and spatial freedom converge here, inviting viewers to move, look, and feel differently — exactly as Gilliam intended.

SamGilliam

03/28/2026
Happy International Women’s Day with appreciation for the Hammonds House Museum team.Today, we honor women whose leaders...
03/08/2026

Happy International Women’s Day with appreciation for the Hammonds House Museum team.

Today, we honor women whose leadership, scholarship, and creative labor continue to sustain this 36-year cultural home for Black art and ideas. Their vision shapes the museum’s daily rhythm, its long‑term stewardship, and its commitment to artists and community.

I celebrate:

Ex Officio Executive Directors
• Myrna Brown Greene
• Leatrice Ellzy

Inaugural Managing Director (Ex Officio)
• Donna Watts‑Nunn

Program Coordinator
• Ravi Windom

Gallery Associate
• Lydia Kimbrough

Grants Writer
• JoAnn Lawrence

Board Leadership
• Lesa Adébóyè, Board Chair
• Jacquee Minor, Vice Chair

Board Members
• Deniece Griffin
• Sue Ross
• Sandra DeShields Hightower

As the museum’s Inaugural Artistic Chair, since 2024, it has been my pleasure to collaborate with these extraordinary women over the last two and a half years. Their brilliance, integrity, and unwavering commitment have strengthened every exhibition, program, and institutional milestone we’ve built together.

Hammonds House Museum remains a vital sanctuary for Black visual culture—rooted in history, alive with contemporary vision, and carried forward by women who lead with purpose.


Every image is more than a representation — it’s a provocation, a gesture carrying the weight of history. I’m reminded o...
02/21/2026

Every image is more than a representation — it’s a provocation, a gesture carrying the weight of history. I’m reminded of 1968, when two Olympic medalists raised their clenched fists on the podium, turning a moment of victory into a global declaration of dignity and defiance.
Here, the open hand stands in quiet contrast — vulnerable, visible, asking what freedom looks like now. Hank Willis Thomas threads these gestures together, transforming them into questions that linger long after the image fades.

Witnessing the quiet power of Theaster Gates’ work — where salvaged materials become vessels of memory, labor, and place...
02/21/2026

Witnessing the quiet power of Theaster Gates’ work — where salvaged materials become vessels of memory, labor, and place. These hand‑worked wooden blocks hold warmth, history, and rhythm, reminding us that beauty often lives in what’s been touched, used, and transformed.

A meditation on craft, care, and the stories embedded in every surface.

09/13/2025

07/18/2025

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New York, NY

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