Originally published on May 4, 2018 in Bmoreart.com
“Waller Gallery, a new Black-owned art space in Charles Village offers refreshing programming and curation that showcases local and international contemporary artworks. The galleries premiere exhibition, Drapetomania, presents photographs and film by Baltimore-based artist Nia Hampton.
“Art communities often ignore indigenous people, brown people,” Joy Davis, founder and curator notes,“But there are pockets of “blackness” everywhere. That’s why Nia’s show is important. It’s about starting conversations with people.” Continue Reading
Originally Published in BmoreArt on April 6, 2018
"Skeleton bones rape and drag a woman along the fragile glass back of another woman whose body elongates into a pistol. Ornately beaded bullets bare the initials of Black men who have been murdered by police. Ghostly lithograph images of children smile as they dangle upside down, muscles and bones exposed to the gaze of onlookers. The urgency relayed in Joyce J. Scott’s sprawling collection of works is palpable in Still Happening in 2018, a solo exhibit at Goya Contemporary.
The work of MacArthur Genius Joyce J. Scott, whose 40+ year career has engaged benign crafting traditions to bring attention to the persistence of brutality against women, children, and men of color, is distinctly disturbing, offering stark depictions of violence which are haunting yet somehow beautiful." CONTINUE READING
Originally published in Sugarcane Magazine on March 9, 2018.
"In the afterlives of partus sequitur ventrem what does, what can, mothering mean for Black women, for Black people? What kind of mother/ing is it if one must always be prepared with knowledge of the possibility of the violence and quotidian death of one's child? Is it mothering if one knows that one's – child might be killed at any time in the hold, in the wake by the state no matter who wields the gun? Christina Sharpe – In the Wake: On Blackness and Being
Sites of mourning are marked by familiar objects; deflated balloons and toys strapped to light posts. Flowers and liquor bottles. Candles and candy. These indicators dot city landscapes and remind the community that a tragedy has occurred; life has been lost. Countless misfortunes are remembered with similar memorials, and much more go unsung. It is easy to overlook the memorials that proliferate the city.
What does it mean to grow accustomed to trauma? In In the Wake: On Blackness and Being, theorist Christina Sharpe describes the perpetuity of traumas African American communities experience with nautical and colonial terminology– the wake, the ship, and the hold. The conditions Sharpe articulates reveal devastating implications. Each new iteration of violence against Black bodies builds on preceding violence that ultimately trigger and reaggravate trauma on a cellular, physical and psychological level. Discoveries about the residual impact and long-term effects of racist violence on the body and psyche of African Americans are emerging. Still, I cannot help but wonder if Black identities are doomed to endure a perpetual state of mourning.
T. Elliott Mansa's latest work, a series of untitled assemblages, is informed by the perpetuity and materialization of mourning. Previous works engaged figurative portraiture to explore familial and socioeconomic themes that incorporated Yoruba West African cosmologies and folklore. Mansa has exhibited at Prizm Art Fair, Art Africa Miami Art Fair, the David Castillo Gallery, and the African-American Museum of the Arts in Deland, Florida, among others. I visited Mansa's studio in Tribeca, NY to build with him about the new collection and his transition from 2D portraiture into 3D assemblage." CONTINUE READING
Originally published in Sugarcane Magazine on February 22, 2018.
"Giving Up the Ghost: Artifacts/A Study of Power and Solidarity Against White Violence in Modernity, a new group exhibition curated by Niama Safia Sandy at Rush Arts Philadelphia, offers broad critiques and diverse perspectives about the function of power and violence. Works by artists Lavett Ballard, Tasha Dougé, Sara Jimenez, Asif Mian, Tajh Rust, Rocío Olivares, and Lionel Frazier White engage the subtle and explicit ways that white violence and power have been weaponized historically and remain inextricably tethered to capitalism." CONTINUE READING
Originally Published in the CUE Arts Exhibition Catalog for Peter Williams: With So Little To Be Sure Of
"Huge amounts of medical and scientific scholarship have been devoted to the question (assuming it is a question) of what kind of species Black people are and what characteristics they possess.”
- Toni Morrison “The Origin of Others”
Painter and mixed media artist, Peter Williams unpacks troubling histories of white supremacy and systemic oppression to create revelatory collective narratives about the persistence of violence against Black bodies. The devastating trend of unwarranted killings of Black boys and men at the hands of police officers, most of whom escaped federal conviction, catalyzed a departure from Williams’s lighter, more spiritual and reverent figurative abstract-portraiture towards more traumatic motifs. His latest body of work, With So Little To Be Sure Of, interrogates the systems and industries that perpetuate and uphold operational practices, legislation, and ideologies that normalize the dehumanization, subjugation, disenfranchisement and belittlement of African Americans. In With So Little To Be Sure Of, Williams’s focus on Black identity centers on the most devastating and distressing depictions of subjugation: naked, pants around ankles, cannibalized, bullet-riddled, beaten, choked, molested, brutalized, castrated, lynched, decapitated. At the core of the work, beyond the artist’s cathartic and obsessive need to reinterpret such vicious violations, is a call to action, a call to bear witness and awaken from what he believes is “an overwhelming cultural apathy.”" CONTINUE READING
Originally published in Bmoreart on January 15, 2018.
"Viewing Magnetic Fields at the NMWA by Mildred Thompson feels like freedom. Bright streaks of red and blue orbit an unknown source, fracture into dashes, and dot a beaming yellow universe. The movement of the lines is both erratic and orchestrated, broad strokes that shift and resound like musical compositions, like the frenetic combustion and reformation from which galaxies are born, the booming screech and coo of ‘Trane’s horn, Alice’s transcendent harp solos, or FlyLo’s auric soundscapes.
Standing before Alma Woodsey Thomas’ Orion, 1973 made me feel like an astronomer surveying an undiscovered star system. Thomas employs a technique she developed called “Alma Stripes” to flood a large canvas with thousands of red strokes. By leaving a small space between each stroke, Thomas creates a hypnotic pattern that recalls West African textiles or astral landscapes." CONTINUE READING
Originally published in BmoreArt on December 13, 2017
"Valerie Maynard is one of the most significant contemporary artists of our times, a legend who has always walked among legends. Many of her predecessors, like Charles White or Elizabeth Catlett, and her contemporaries, James Baldwin, Langston Hughes, and Amiri Baraka among others, who have contributed to the canon of Black creative genius, have become gods for my generation, sanctuaries whose sacred books and visualizations I return to again and again for affirmation and critical discourse.
Long before the BLM movement affirmed the acute necessity for America and the world to acknowledge that black life matters, Valerie Maynard’s extensive catalog of sculptures, woodcuts and lithograph prints documented the humanity of African American experiences in Harlem New York, and Baltimore Maryland." CONTINUE READING
Originally published in DIRTDMV.com on December 11, 2017
"Heroes, on view at Kravets|Wehby Gallery in West Chelsea New York, features an intimate and inspiring posthumous exhibition of welded chrome and steel sculptures from former Washington, DC based artist, Ed Love. The eight-works displayed, all produced in the 1970s, reflect a period of extreme productivity for Love. In 1976 the artist exhibited a solo show of his sculptures at the Corcoran Gallery of Art and served as a faculty member at Howard University from 1969 to 1987. Studying and teaching at “The Mecca,” facilitated opportunities for him to be mentored and work alongside many other prolific, world renowned artist-scholars; Elizabeth Catlett, Alma Thomas James D. Herring, Valerie Maynard, James A. Porter, Lou Donaldson, Sam Gilliam, David C. Driskell, Lou Stovall, and Sylvia Snowden, among others. The works created by Love and his peers left an indelible mark, a defining proclamation that not only made black aesthetics more visible, but also widened opportunities for contemporary art institutions to consider the relevance of radical, affirming and challenging representations of the black experience. Without the contributions of those artists, and many others unnamed, who each expanded the visualization, inclusion, and canonization of black aesthetics, there would be no Kehinde Wiley, Amy Sherald, Ebony G. Patterson, Derrick Adams. No Sheldon Scott, Wangechi Mutu, Nate Lewis, Tsedaye Makonnen, or Adrienne Gaither. The struggles of earlier generations against the omission of black creatives from art markets is integral to the dynamic representations of contemporary art makers we see globally exhibited and celebrated today." CONTINUE READING
Originally published November 27, 2017 in Sugarcane Magazine
"Like the lotus, a flower that thrives in unfathomable environments, seventy-three artists offer critical and whimsical explorations on present and historic instances of resilience and imagined futures for communities in the American South, Global South and beyond. The fourth iteration of its triennial art review, Prospect.4: The Lotus in Spite of the Swamp, is situated in fifteen venues off the coast of the Mississippi and a host of satellite locations at smaller galleries around the city. As the title suggests, Prospect riffs on mythologies associated with the city, and considers water as an environmental element and a signifier for reflection, transit, and transformation. Water and associated themes like Maafa, globalization, colonization, and climate change also recur as major points of inquiry." CONTINUE READING
Originally Published November 16, 2017 in Bmoreart.com
" Wh every brave #METOO declaration, every future reduced to a tally of Baltimore’s rising death toll, every lie told in defense of white supremacy, I am reminded how fragile freedom has always been for so many. We, the ones who are sexualized, silenced and shamed, surveilled and arrested, murdered and brutalized, humiliated, appropriated and blacklisted walk with the weight and residue of institutionalized inequity, patriarchy, racism, classism, and incomprehensible ignorance.
In the face of an overwhelming persistence of local, national, and international disparities, corruptions and assaults on basic civil liberties, it is telling and timely that Dr. H Corona and Dr. A. Pinkston chose freedom as an explorative prompt for participants in LabBodies‘ annual Performance Art Review at SpaceCamp this month, where a collection of immersive installations and live performances have transformed the gallery into a site for critical discourse on freedom. Freedom Free-Done examines all of this and more, but also offers reflective affirmations visualizing freedom’s potential, and how collective and individual imaginings about freedom can dismantle the decrepit and exclusive systems that threaten to destroy the world." CONTINUE READING
Docs N Toons
A powerful documentary covering the impact of the 2010 7.0 earthquake that devastated Haiti from the perspective of Haitians. Watch the full documentary.
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