Above: Singing. The background of each photo is from my latest immersive project focused on the struggles of people of color and our quest to be understood
Kazuko Miyamoto: The Artist Who Shaped My Path
My artistic journey has been indelibly marked by the influence of luminaries such as Sol LeWitt, Jean-Michel Basquiat, Keith Haring, Nancy Spero, Leon Golub, and David Hammons. These icons entered my life through my aunt and lifelong mentor, Kazuko Miyamoto. Born in Tokyo in 1942, Kazuko is not merely an internationally celebrated visual and performance artist; she is a gallery owner, a curator, and a foundational member of the New York City women’s art collective, A.I.R. For more than four decades, she served as the principal assistant to Sol LeWitt, yet her own artistic journey is a formidable narrative in its own right. Her works reside in esteemed collections—including The Metropolitan Museum of Art, MoMA, the National Museum of Modern Art in Tokyo, and the Guggenheim Museum—alongside the private collections of notables like Sol LeWitt, David Hammons, and Nancy Spero. Kazuko’s legacy is a tapestry of mentorship and artistry, weaving together the threads of my own creative path.
Kazuko Miyamoto and her niece, Angelina Mack, Almack’s daughter. Art opening and duo concert with Almack on drums and Juini Booth on bass featuring artworks by David Hammons, Nancy Spero, Leon Golub, Kazuko, and Almack. Almack’s two paintings behind this family photo, left and right, are titled “Julia K. in thought…” and “J. Kristeva’s words in action!”
At the tender age of seven, I was introduced to the realm of fine art by my aunt Kazuko, who guided me through the hallowed halls of MoMA, The Met, and an array of galleries throughout New York City. By twelve, I was lost in the act of painting large canvases, deeply inspired by the art that adorned our home. My life intertwined with Kazuko’s until I reached thirty taking care of her many pets and assigned art details during her travels—first in her loft at 117 Hester Street, and later at 181 Chrystie Street, both on the Lower East Side of Manhattan—where I found myself amidst a constellation of iconic artists, including Adrian Piper and Sol LeWitt. It was within this vibrant milieu that I bore witness to the transformation of New York’s art landscape, as galleries migrated from Soho, Tribeca, to the L.E.S., and ultimately settled in Chelsea, each shift echoing the pulse of a city in constant reinvention.
In front of Gallery OneTwentyEight
With Kazuko Miyamoto
With my sister Miya in front of my painting done at age 14
Sol LeWitt’s Kazuko Miyamoto Collection Zürcher Gallery NYC 2021
Sol LeWitt’s “Pyramid” 1982 from The Mack Family Collection
Dr. Kellie Jones, Almack’s art advisor and curator
I invite you to listen to this recording inspired by William and I playing at Kazuko’s Gallery OneTwentyEight. I’ve been playing with William Parker and Daniel Carter since 14! “TravelingAroundTheWorld…Or Something!” William Parker on acoustic bass and wood flutes (in the intro), James Weidman on acoustic piano, Deji Coker on saxophone and metal flute (in the intro), Almack drums, engineer, producer, and arrangements. Co-written by this quartet, CENTERING LIGHT
Section A in honor of Archie Shepp and Albert Ayler
Section B in honor of Juini Booth and Billy Bang
Section C in honor of Daniel Carter, Cecil Taylor and, John Coltrane
Throughout the years, I was privileged to collaborate with Kazuko, crafting music for her art performances at OneTwentyEight, her gallery on Rivington Street, which she nurtured for over four decades. In that vibrant space, I shared the stage with friends, mentors, and jazz luminaries like William Parker, Juini Booth, and Daniel Carter during her openings and special events. I not only performed live but also took on the role of DJ and composing my music to be meticulously tailored to enhance her performances. Our collaborations extended into the art sanctified buildings of renowned galleries, such as Leo Castelli’s Soho venue, where I joined forces with artists like Jack Early and Rob Pruitt, and a stone’s throw from OneTwentyEight lay ABC No Rio, where Kazuko curated groundbreaking exhibitions that showcased the nascent works of icons like Basquiat and Haring, alongside other emerging visionaries. I was fortunate enough to exhibit my paintings in group shows at OneTwentyEight, including one memorable event when I performed with my mentor Juini Booth, captured in a photograph here with Kazuko and my daughter Angelina, where my work hung alongside pieces by David Hammons, Nancy Spero, and Leon Golub—an intersection of artistry that continues to resonate with me.
Daniel Carter
William Parker
Juini Booth
Juini Booth
Emanuel Ruffler keyboards Arnold Lee saxophone
Over the years, I had the honor of collaborating with Kazuko, creating music for her art performances at her gallery, OneTwentyEight, on Rivington St. in Manhattan, which she owned for over 40 years. I performed live alongside my friends, mentors, and jazz legends like William Parker, Juini Booth, and Daniel Carter at her openings and special events. I also DJ’d and composed music specifically tailored to her performances. These collaborations extended to prestigious galleries like Leo Castelli’s Soho gallery, where I worked with artists such as Jack Early and Rob Pruitt. Just down the street from OneTwentyEight was ABC No Rio, where Kazuko curated groundbreaking shows featuring the early works of Basquiat, Haring, and other emerging visionaries. I also had the privilege of exhibiting my paintings in group shows at OneTwentyEight, including the one captured in the photo with Kazuko and my daughter Angelina, alongside works by David Hammons, Nancy Spero, and Leon Golub.
Inspired by New York: My Artistic Journey in the 60s and 70s
My first multisensory awakening occurred at the Apollo Theatre when I was a mere five years old, caught in the electrifying anticipation of witnessing my funk idol, James Brown. I had been known to ‘Do the James Brown’ for my neighborhood and at my grandparents’ dry cleaner in Harlem, earning delighted chuckles and the occasional coin tossed into my hat. As I entered the Apollo, I was enveloped by a collage of legendary performers, their images vibrant with life yet tinged with the sepia of history—each one a whisper of greatness that sent shivers down my spine. The air was a tapestry of scents: sweet perfume mingled with the rich leather of handbags, all underscored by the buttery allure of freshly popped popcorn and candy. Navigating past the concession stand and into the theater, I was spellbound by the glowing curtains that danced under the shifting stage lights. The performers’ dazzling costumes were a visual feast, but it was the sight of those sparkling red drum sets that truly ignited my passion for music. In that moment, I found my calling—a spark that would light the way for a lifelong love affair with rhythm and sound.
The Apollo Theatre lobby collage
Another transformative moment in my life occurred during my first encounter with the graffiti of TAKI 183 on the number 5 train. As I commuted from Friends Seminary in Downtown Manhattan back to my home in the South Bronx, I was captivated by his bold tags, emblazoned across the subway car. TAKI had seized the city as his canvas, and the raw energy of his creativity was nothing short of exhilarating. Soon, I found myself noticing the work of other graffiti artists, each tag increasingly audacious and intricate. Entire subway cars began to metamorphose into rolling masterpieces, a riot of color and expression that ignited my imagination. When these graffiti-clad trains rolled into stations, illuminated by harsh fluorescent lights, they shone like polished jewels—each one a moving celebration of artistry that left me breathless. By the age of twelve, I was immersed in the world of rock concerts at the Fillmore East with friends from school. The psychedelic light shows—especially those by Pig Lightshow and Joshua Light Show—transformed the stage into a radiant tapestry of swirling colors, black lights, and strobe effects. These visual displays, meticulously crafted by hand, pulsed in perfect harmony with the music, amplifying the electrifying performances of artists like Santana, Mountain, and the electric Miles Davis. The potent fusion of sound and light left an indelible mark on my psyche, instilling in me a deep appreciation for the sensory power of art. Whether in the sacred halls of the Apollo, aboard a graffiti-clad subway, or amidst the vibrant lights of a rock concert, these moments have profoundly shaped my creative journey. They continue to inspire the immersive experiences I endeavor to create today, weaving a rich tapestry of multi-sensory extremes that define my artistic expression.
