Women Heal through Rite and Ritual draws from the imaginative narratives of artists Lavett Ballard, Tawny Chatmon, Oletha DeVane, Shanequa Gay, Delita Martin, Elsa Muñoz and Renée Stout who look to non-Western traditions for inspiration in exploring a woman’s role as nurturer of family and community; and as traditional healer, conjure woman, and clairvoyant who dwells in both the physical and spiritual realms.
Delita Martin, "Black Moon"
Elsa Muñoz, "Controlled Burn 14"
Oletha DeVane, "Sanctuary"
Renée Stout, "The Time She Saw Too Much"
Shanequa Gay, "summoning"
Tawny Chatmon, "Two: The Awakening Series"
Lavett Ballard, "Healing-Rituals"
Conveyed through visceral imagery—manifested in paintings, prints, photography, and sanctuaries are the artists’ cultural, social, spiritual, and political commentaries on the rites of womanhood, and an intimate and compelling testament to the essence of the divine feminine and self.
As giver of life, custodian of traditional African religion and customs, preserver of culture, counselor, and psychologist, and at times, the conduit between two worlds, Women Heal through Rite and Ritual celebrates and reclaims a woman’s power and place in the natural and supernatural worlds.
As the COVID-19 (coronavirus) continues to permeate every aspect of our lives, we recognize the need to take preventative measures in order to ensure the safety of our staff, our artists, and our patrons. While the gallery remains closed, we offer an online version of our current exhibition Women Heal through Rite and Ritual. We are planning to hold the opening reception and artist talk in the future. However, because of the fluidity of the situation, no date will be announced at this time. Until then enjoy the online exhibition!
Artist Statement
The exhibition, Reparations: Some Things are Just Owed, and Some More than Others, showcases a selection of objects created by a recently discovered artisanal-based company, Reparations & Co. Reparations & Co. (a.k.a. Rep & Co.) founded by Eugene & Morris, two Black men during the Reconstruction era, created functional, subversive, and empowering objects — some futuristic in thought and process. Not much is known about the craftsmen or the company, however, in recent years several objects have surfaced on the auction and secondary markets with the company’s logo, prompting research. As such, researchers discovered what is believed to be their shop in an overgrown, abandoned, dilapidated barn-like structure near Freetown, in Glen Burnie, MD. The collection found is vast and while remarkably well preserved, some objects were vandalized, prompting restoration efforts. On display in this exhibition viewers get a peek into the past through the minds of two craftsmen as they fuse economic empowerment, restoration of identity, and more into their functional and decorative objects; during a pivotal yet short-lived period of American history.
The fictitious narrative of Reparations & Co. is what drives many of the aesthetic choices; it is the vehicle used to create a dialogue on ideas of racial socialization — as described in Post Traumatic Slave Syndrome, by Dr. Joy DeGruy — as a means of expanding and internalizing the discussion of reparations to include what we as Black Americans owe ourselves.
“…the process whereby we come to know our strengths, understand the world in which we live, and position ourselves to thrive. Continual education is at the heart of racial socialization. For young children, education is the elder’s responsibility. For adults, the responsibility is our own. We have to remain vigilant and questioning. We have to continue to constantly endeavor to keep ourselves informed and our education current. We have to question the image we ourselves are portraying. We have to examine the sounds and pictures we expose ourselves to. We have to filter what we hear on the news and strive to understand what is true.“
– Joy DeGruy, Post Traumatic Slave Syndrome watch Joy DeGruy lecture on Post Traumatic Slave Syndrome
Whether from present day or generational trauma, communal preparation and advancement are at the heart of this body of work. Under the umbrella of preparation, inwardly focused themes around mental health, family history and legacy, self-respect and dignity, leadership, rebuilding the Black economy and restoring relationships are touched on as a means of being solution-oriented. While there are outside influences discussed on the traditional theme of reparations, the focus remains inward. Two examples of such influences can be found when examining the works The Profiteers 1 & The Profiteers 2. The first recognizes existing companies operating in the US (though possibly under a new name) that profited from the enslavement of Africans. The second names corporations that have or still use prison labor and thereby support the growth of the prison industrial complex (i.e., Sprint, Verizon, Bank of America and Walmart). My intent is to think about self-respect, as well as building and supporting a Black economy, as each name listed represents an industry for the Blacks to build and compete in.
A large portion of my work considers aging, weathering, and/or antiquing objects driven by fictional narratives, which informs my aesthetic choices. Most often this process is about linking present day content to historical issues, or ideas around value. Objects that are salvaged and displayed are deemed to possess a certain value or esteem. I set the stage for that sense of value to be linked to contemporary socio-political or socio-economic issues and conversations. With this body of work, I’ve chosen to incorporate custom automotive high gloss paints — often used on “tricked out” or restored cars — as a contemporary reference to notions of value. These “candy” or “flip flop/color shifting” paints are typical for early/classic model cars souped up with big, fancy rims, chrome details, or engine/body modifications. These cars have been popularized by rap culture in particular and therefore are associated with money, fame, and all that comes with it — just as owning a certain antique furniture piece once were — hence speaks to a younger generation’s value system. Such paints were incorporated into the works, Restoring our Majesty, Wading in the Waters of Babylon, and The Tell-All Earbox: Model no. C3l3stial-4, as one of two visual elements — the other being “tagging”/graffiti writing — to fuse the temporal space between the antique lover and millennial mind.
I’m not concerned with the viewer engaging my personal narratives that drive the work. More often than not, they’re just for me and my process. Reparations & Co. marks the first time my working narrative has held an elemental position (in the form of a logo placed on a few works) and thus a larger more robust storyline has emerged. I work with fictitious narratives as a means of setting a stage for myself mentally — and every stage has its props and boundaries. Therefore I’m constantly questioning, “Does this idea/object fit within the boundaries of my stage and how?” The objects (props) I choose to create are often ubiquitous, even mundane items with slight hybridity-like aspects tossed in for good measure. For the viewer, it’s the objects’ familiarity — loaded with preconceived notions and understandings – that allow entryway. With that familiarity in place, the stage is set for viewers to explore the relationship with the “foreign” social and/or political elements incorporated into the work.
The Profiteers I: Enslavement
Oil paint, latex paint, shellac on plywood
60” x 48”
2019
The Profiteers II: Imprisonment
Oil paint, latex paint, shellac on plywood
79" x 49"
2019
Restoring Our Majesty
Urethane paint, epoxy putty, eps foam
Female: 69-1/2" x 19", Base: 13-1/2" x 28-1/2"
Male: 69-1/2" x 24", Base: 13" x 31"
2019
Prophet's Library: Wading In the Waters of Babylon
Urethane paint, jute, wood
4" x 21" x 11"
2019
The Tell-All Earbox: model no. C0mm0n3r-1
Oil paint, shellac, wood
8" x 11" X 8-1/2"
2019
Tawny Chatmon Exhibits at Fotografiska, New York, NY
December 14, 2019 – March 22, 2020
Tawny Chatmon
Inheritance
”Our children inherit what we don’t resolve” anonymous
Inheritance, by Tawny Chatmon (American, b. 1979), invites the viewer to look beyond the decorated and nuanced portraits to examine issues of race and the historical positioning of African American portraiture in the absence of subjugation of the “black body” in Western art.
Chatmon, a mother of three black children, draws from her life experiences and belief that children inherit our memories, beliefs, traditions, and the world that we leave behind. Through her photographs, she conveys a message to her children, and to all black children, that they are precious, valued, and loved.
While the camera is her primary tool of communication, Chatmon takes a multi-layered approach in producing her photographs—her process does not subscribe to conventional photography. The photographs are often manipulated and hand-embellished with acrylic paint and 24-karat gold leaf, inspired by Gustav Klimt’s (1862-1918) “Golden Phase.” The use of gold and ornamentation in Klimt’s work evokes feelings of grace, magnificence, and beauty within Chatmon and has remained in the artist’s consciousness. These are the emotions Chatmon seeks to convey to those viewing her photographs. Her portraits are staged vignettes with models, who at times are her own children, wearing elegant garments. Chatmon experiments with various art practices and does not restrict herself to follow any set of rules, allowing her to create instinctually and fluidly. The result is a beautiful and powerful iconography that speaks to “the disparities that continue to affect black people around the world.”
This exhibition presents three bodies of work: The Awakening, Byzantine Contempo, and The Redemption. In these series, Chatmon celebrates the beauty of black childhood, African American culture, and the delicate intricacies of protecting and raising a black child in today’s world. Each series is a conversation on love, nurturing, and the familial bond; a commentary on the politics of blackness; the historical portrayal of the black body; and an investigation of Renaissance and Byzantine portraiture. In combating the negative stereotyping associated with natural hairstyles and adornments that are distinctively likened to black people and culture, Chatmon glorifies various styles: afros, locs, twists, and barbershop cuts revered in black communities. Embedded within the works are messages of embracing one’s beauty and cultural pride.
Text by Myrtis Bedolla. Edited by Grace Noh and Amanda Hajjar.
Inheritance is organized by Fotografiska, in collaboration with the artist and Galerie Myrtis.
Fotografiska
281 Park Ave South
New York, NY 10010 United States
The World is Imperfect, But You… The Awakening Series
12k white gold leaf on archival pigment print
54” x 30" (unframed), 72” x 49.5" (framed)
2018-2019
Duality/ Sister's Keeper: The Awakening Series
24k gold leaf and acrylic paint on archival pigment print
44” x 32" (unframed), 59” x 46" (framed)
2017-2019
She Promised... (Don’t Cry For Me): The Awakening
24k gold leaf on archival pigment print
30” x 20" (unframed), 44” x 32" (framed)
2018-2019
Not for Sale
The Second Sunday: The Awakening Series
24k gold leaf on archival pigment print
45” x 33" (unframed), 58” x 46" (framed)
2018-2019
Braiding Hour/Barrettes: The Awakening Series
24k gold leaf and acrylic paint on archival pigment print
40” x 32" (unframed), 45.5” x 38" x 2” (framed)
2017-2018
(not for sale)
Reflection/ Crowned: The Awakening Series
24k gold leaf on archival pigment print
50” x 26" (unframed), 63.5” x 40" (framed)
2017
Girl Enlightened: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
44” x 30"(unframed), 62” x 51” (framed)
2019
Castles: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
24” x 20" (unframed), 42” x 34.5” (framed)
2019
Blossom: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
45” x 30" (unframed), 61” x 49” (framed)
2019
Eden's Playdress: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
42” x 28" (unframed), 60” x 48” (framed)
2019
God's Gift: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
48” x 36" (unframed), 62"x 50" (framed)
2019
(On Reserve)
She is Gold: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
28” x 24" (unframed), 40"x 36" (framed)
2019
Janay: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
35” x 24" (unframed), 47"x 37" (framed)
2019
SOLD
3:31: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
28” x 18" (unframed), 40"x 28" (framed)
2019
SOLD
Covered / Vienna: The Awakening Series
24k gold leaf andacrylic paint on archival pigment print
36” x 24" (unframed), 49” x 36" x 2.5” (framed)
2017-2019
Not for Sale
Ceanna The Second: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
36” x 28" (unframed), 47” x 39” (framed)
2018
SOLD
Let Him Grow: The Redemption Series
Acrylic paint on archival pigment print
30” x 24" (unframed), 44"x 36" (framed)
2019
(On Reserve)
Sisterhood: Byzantine Contempo Series
24k gold leaf on archival pigment print
45” x 33 " (unframed), 60"x 47" (framed)
2016
Hayden: Byzantine Contempo Series
24k gold leaf on archival pigment print
44” x 30" (unframed), 58"x 43.5" (framed)
2016
Prevailing: Byzantine Contempo Series
Archival pigment print
36" x 24” (unframed), 50"x 39" (framed)
2016
Peace Within: The Awakening Series
24k gold leaf and archival pigment print
36" x 28" (unframed), 43.5"x 33.5" (framed)
2018-2019
Embrace: The Awakening Series
24k gold leaf on archival pigment print
40" x 34" (unframed), 60" x 52" (framed)
2019
The Awakening: Beloved
24k gold leaf on archival pigment print
36” x 31”x 3.5” on Hahnemühle Paper w/ additional 5cm border
2018
SOLD
The Redemption: The Boy That Changed My Life Honored
24k gold leaf and acrylic paint on archival pigment print
51” x 41” x 4” on Hahnemühle Paper w/ additional 5cm border
2018-2019
Byzantine Contempo: Reigning
24k gold leaf and acrylic paint on archival pigment print
60” x 48” x 7”
2016/2019
Curatorial Statement by Myrtis Bedolla
Through a revolutionary intellectual process, Wesley Clark (1979) in his first solo exhibition at Galerie Myrtis creates a fantastical world of interwoven history, Afro-futurists, coded messages and mechanisms for survival in his investigation of what America owes the descendants of slaves and most importantly, what they owe themselves.
In Reparations: Some Things are just Owed and Some More than Others Clark probes the vestiges of slavery by transporting viewers to the reconstruction era (1865-1877) where they discover Reparations & Co. (a. k. a. Rep & Co.), a company established by Rep. & Co. Brothers, Morris and Eugene. As protagonists in Clark’s fictional world, the Rep. & Co. Brothers deploy their carpentry skills and ability to see into the future to invent devices for coping with racial discrimination, social injustice, and trauma; while offering African Americans tools to navigate and survive in a society that deems them as “other.”
A history on the economics of slavery is deployed through what appear to be simply crossword puzzles. Left in the hands of the Rep. & Co. Brothers, the lessons are disguised as decorative wall hangings; Profiteers I: Enslavement reveals the names of corporations that profited from the transatlantic slave trade and continue to operate today, namely, Lehman Brothers and J.P. Morgan. In Profiteers II: Imprisonment those benefiting from today’s modern form of slavery —the prison industrial complex —are eerily connected as their names overlap on the puzzle board, among them, Walmart, General Motors, Verizon, and Chrysler.
When expanding the narrative to what African Americans owe themselves, Clark draws inspiration from Dr. Joy DeGruy author of Post Traumatic Slave Syndrome. In it DeGruy offers racial socialization as the key to confronting negative attitudes and behaviors that have plagued the black community for generations.
For Clark, the solutions lie in the creative genius of the Rep. & Co. Brothers who possess an innate understanding of the needs of the progenies of those once enslaved. Knowing that knowledge is power, they invent The Prophet’s Library a series of books informed by black scholars. Bound in wood are books that hold the unaltered truths of Black history, or is it? For coping with trauma the series Tell-All Earbox travels the country in a circus-like tent allowing all to come and bear their souls. The ear boxes are an early form of psychology. One is allowed to whisper in the ear on the box, for it holds all secrets without judgement or stigma attached. Black men and their sons can seek emotional healing in The Gift, a bearing of hearts. And in probing leadership, who we are led by and who we choose to lead, A Word Spoken is a Word Heard becomes the platform for an interactive performance on the subject.
In his artist’s statement, Clark shares the impulse for investigating the notion of reparations and creating the imagined Rep. & Co., “This fictitious narrative is the vehicle used to create a dialogue on ideas of racial socialization – as described in Post Traumatic Slave Syndrome by Dr. Joy DeGruy – as a means of expanding and internalizing the discussion of reparations to include what we as, Black Americans, owe ourselves.
Concepts around healing work — whether from present day or generational trauma — as a means of communal preparation and advancement, are at the heart of this body of work. While there are outside influences touched on around the idea of reparations, I’m focused inward…” Excerpt from artist’s statement
In Reparations: Some Things are just Owed and Some More than Others viewers will be challenged to discern fact from fiction. Clark’s confluence of mixed chronology, reimaged world, and brilliantly designed devices result in an experience that is culturally conscious, clever, and provocative.
artwork Table of Contents
Oil paint on wood
47” x 89”
2017
Art of the Collectors VII – Artwork Available Between $295 and $1,500
Jonathan Pinkett
Venice Corner Window
Watercolor on Paper, 20" x 14" Unframed, N.D., N/A
Private Collector
$295
Jonathan Pinkett
Samson St. at 15th
Watercolor on Paper, 20 1/8" x 14" Unframed, N.D., N/A
Private Collector
$295
Stephanie E. Pogue (1944-2002)
Chameleon
Color Viscosity Etching , 31.5" x 25" Unframed, N.D., A/P
William Pogue Collection
$500
Thomas Feeling (1933-2003)
Child in Sky
Print, 23.25" x 26" Framed, N.D., 1/560
Cole Collection
$550
Curtis Woody
Ties That Bind
Mixed Media, 7.75" x 7.75" Framed, N.D., N/A
Savage Collection
$550
Curtis Woody
We Were Meant to Live For So Much More
Mixed Media, 15.5" x 15.5" Framed, N.D.
N/A, Savage Collection
$650
Stephanie E. Pogue, (1944-2002)
The New Hat
Color Viscosity Etching , 33" x 25.5" Framed, 1974, 11/20
William Pogue Collection
$750
Stephanie E. Pogue, (1944-2002)
Madras Skylight
Color Viscosity Etching , 19.75" x 15.75" Framed, 1983, 9/20
William Pogue Collection
$850
Lou Stoval (1937)
Roses for Ma
Silkscreen, 16" x 16" Framed, 1988, 37/50
Ford Collection
$950
Stephanie E. Pogue, (1944-2002)
Paris Skylight
Color Viscosity Etching and Collagraph, 33.25" x 40.5" Framed, 1984, 1/20
William Pogue Collection
$1,200
Cullen Washington (1972)
Poppa T Verison Z
Etching, 28.5" x 22.5" Unframed, 2006, 7/8, Private Collector
$1,200
James Wells (1902-1993)
Peace Corps Africa
Color Linocut Print, 31" x 23.5" Framed, 1971, 8th Imp
Private Collector
$1,200
Richard Witikani
Nyamanza
Oil on Compassed Paper, 24" x 31.5" Unframed, 1998, N/A, Private Collector
$1,200
Ulysses Marshall (1946)
Untitled
Acrylic on Canvas, 24" x 18", 1997, N/A
Private Collector
$1,500
Tawny Chatmon Exhibits at Fotografiska, New York, NY
December 14, 2019 – March 22, 2020
Tawny Chatmon
Inheritance
”Our children inherit what we don’t resolve” anonymous
Inheritance, by Tawny Chatmon (American, b. 1979), invites the viewer to look beyond the decorated and nuanced portraits to examine issues of race and the historical positioning of African American portraiture in the absence of subjugation of the “black body” in Western art.
Chatmon, a mother of three black children, draws from her life experiences and belief that children inherit our memories, beliefs, traditions, and the world that we leave behind. Through her photographs, she conveys a message to her children, and to all black children, that they are precious, valued, and loved.
While the camera is her primary tool of communication, Chatmon takes a multi-layered approach in producing her photographs—her process does not subscribe to conventional photography. The photographs are often manipulated and hand-embellished with acrylic paint and 24-karat gold leaf, inspired by Gustav Klimt’s (1862-1918) “Golden Phase.” The use of gold and ornamentation in Klimt’s work evokes feelings of grace, magnificence, and beauty within Chatmon and has remained in the artist’s consciousness. These are the emotions Chatmon seeks to convey to those viewing her photographs. Her portraits are staged vignettes with models, who at times are her own children, wearing elegant garments. Chatmon experiments with various art practices and does not restrict herself to follow any set of rules, allowing her to create instinctually and fluidly. The result is a beautiful and powerful iconography that speaks to “the disparities that continue to affect black people around the world.”
This exhibition presents three bodies of work: The Awakening, Byzantine Contempo, and The Redemption. In these series, Chatmon celebrates the beauty of black childhood, African American culture, and the delicate intricacies of protecting and raising a black child in today’s world. Each series is a conversation on love, nurturing, and the familial bond; a commentary on the politics of blackness; the historical portrayal of the black body; and an investigation of Renaissance and Byzantine portraiture. In combating the negative stereotyping associated with natural hairstyles and adornments that are distinctively likened to black people and culture, Chatmon glorifies various styles: afros, locs, twists, and barbershop cuts revered in black communities. Embedded within the works are messages of embracing one’s beauty and cultural pride.
Text by Myrtis Bedolla. Edited by Grace Noh and Amanda Hajjar.
Inheritance is organized by Fotografiska, in collaboration with the artist and Galerie Myrtis.
Fotografiska
281 Park Ave South
New York, NY 10010 United States
The World is Imperfect, But You… The Awakening Series
12k white gold leaf on archival pigment print
54” x 30" (unframed), 72” x 49.5" (framed)
2018-2019
Duality/ Sister's Keeper: The Awakening Series
24k gold leaf and acrylic paint on archival pigment print
44” x 32" (unframed), 59” x 46" (framed)
2017-2019
She Promised... (Don’t Cry For Me): The Awakening
24k gold leaf on archival pigment print
30” x 20" (unframed), 44” x 32" (framed)
2018-2019
Not for Sale
The Second Sunday: The Awakening Series
24k gold leaf on archival pigment print
45” x 33" (unframed), 58” x 46" (framed)
2018-2019
Braiding Hour/Barrettes: The Awakening Series
24k gold leaf and acrylic paint on archival pigment print
40” x 32" (unframed), 45.5” x 38" x 2” (framed)
2017-2018
(not for sale)
Reflection/ Crowned: The Awakening Series
24k gold leaf on archival pigment print
50” x 26" (unframed), 63.5” x 40" (framed)
2017
Girl Enlightened: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
44” x 30"(unframed), 62” x 51” (framed)
2019
Castles: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
24” x 20" (unframed), 42” x 34.5” (framed)
2019
Blossom: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
45” x 30" (unframed), 61” x 49” (framed)
2019
Eden's Playdress: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
42” x 28" (unframed), 60” x 48” (framed)
2019
God's Gift: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
48” x 36" (unframed), 62"x 50" (framed)
2019
(On Reserve)
She is Gold: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
28” x 24" (unframed), 40"x 36" (framed)
2019
Janay: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
35” x 24" (unframed), 47"x 37" (framed)
2019
SOLD
3:31: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
28” x 18" (unframed), 40"x 28" (framed)
2019
SOLD
Covered / Vienna: The Awakening Series
24k gold leaf andacrylic paint on archival pigment print
36” x 24" (unframed), 49” x 36" x 2.5” (framed)
2017-2019
Not for Sale
Ceanna The Second: The Redemption Series
24k gold leaf and acrylic paint on archival pigment print
36” x 28" (unframed), 47” x 39” (framed)
2018
SOLD
Let Him Grow: The Redemption Series
Acrylic paint on archival pigment print
30” x 24" (unframed), 44"x 36" (framed)
2019
(On Reserve)
Sisterhood: Byzantine Contempo Series
24k gold leaf on archival pigment print
45” x 33 " (unframed), 60"x 47" (framed)
2016
Hayden: Byzantine Contempo Series
24k gold leaf on archival pigment print
44” x 30" (unframed), 58"x 43.5" (framed)
2016
Prevailing: Byzantine Contempo Series
Archival pigment print
36" x 24” (unframed), 50"x 39" (framed)
2016
Peace Within: The Awakening Series
24k gold leaf and archival pigment print
36" x 28" (unframed), 43.5"x 33.5" (framed)
2018-2019
Embrace: The Awakening Series
24k gold leaf on archival pigment print
40" x 34" (unframed), 60" x 52" (framed)
2019
The Awakening: Beloved
24k gold leaf on archival pigment print
36” x 31”x 3.5” on Hahnemühle Paper w/ additional 5cm border
2018
SOLD
The Redemption: The Boy That Changed My Life Honored
24k gold leaf and acrylic paint on archival pigment print
51” x 41” x 4” on Hahnemühle Paper w/ additional 5cm border
2018-2019
Byzantine Contempo: Reigning
24k gold leaf and acrylic paint on archival pigment print
60” x 48” x 7”
2016/2019
Through a revolutionary intellectual process, Wesley Clark (1979) in his first solo exhibition at Galerie Myrtis creates a fantastical world of interwoven history, Afro-futurists, coded messages and mechanisms for survival in his investigation of what America owes the descendants of slaves and most importantly, what they owe themselves.
In Reparations: Some Things are just Owed and Some More than Others Clark probes the vestiges of slavery by transporting viewers to the reconstruction era (1865-1877) where they discover Reparations & Co. (a. k. a. Rep & Co.), a company established by Rep. & Co. Brothers, Morris and Eugene. As protagonists in Clark’s fictional world, the Rep. & Co. Brothers deploy their carpentry skills and ability to see into the future to invent devices for coping with racial discrimination, social injustice, and trauma; while offering African Americans tools to navigate and survive in a society that deems them as “other.” read full Curatorial Statement by Myrtis Bedolla
The Tell-All Earbox: Model no. C3l3stial-4
Urethane paint, wood, 8-1/2″ x 10-1/2″ x 9″, 2019
Artwork
The Gift
Resin, plywood, epoxy putty, dirt
38"h x 90 x 1"d Base: 12"h x 42"w x 32"d
2019
The Tell-All Earbox: model no. C0mm0n3r-1
Oil paint, shellac, wood
8" x 11" X 8-1/2"
2019
The Tell-All Earbox: model no. 1ndust1al-1
Oil paint. Steel, bolts, shellac, wood
8-1/2" x 10-1/2" x 8-1/2"
2019
The Tell-All Earbox: Model no. C3l3stial-4
Urethane paint, wood
8-1/2" x 10-1/2" x 9"
2019
A Word Spoken is a Word Heard
Stain, wood, plywood
34" x 64" x 37"
2019
Sentence Structure
Wood, xerox transfer, oil, nails
34" x 7" - varied
2011
Table of Contents
Oil paint on wood
47” x 89”
2017
The Profiteers I: Enslavement
Oil paint, latex paint, shellac on plywood
60” x 48”
2019
The Profiteers II: Imprisonment
Oil paint, latex paint, shellac on plywood
79" x 49"
2019
Prophet's Library: Wading In the Waters of Babylon
Urethane paint, jute, wood
4" x 21" x 11"
2019
The Prophet’s Library: The Wondrous War
Oil paint and acrylic on wood
9.5” x 7” x 3.5”
2017
The Prophet’s Library: Nationalism and the Knife The Violent Struggle for Black Liberation
Oil paint and acrylic on wood
15” x 11” x 4”
2017
Prophet's Library: The Angels of Gabriel
Leather, oil paint, brads, latex paint, wood
4" x 15" x 9-3/4"
2019
Only What’s Owed
Wood, Oil, Chalk Board Paint
30” x 42”
2017
For the Sake of Our Own
Wood, Acrylic, Chalk
31” x 40”
2017
Restoring Our Majesty
Urethane paint, epoxy putty, eps foam
Female: 69-1/2" x 19", Base: 13-1/2" x 28-1/2"
Male: 69-1/2" x 24", Base: 13" x 31"
2019
Thought Exercise I
graphite on paper
24" x 16"
2019
Thought Exercise II
graphite on paper
9" x 7"
2019
Thought Exercise III
graphite on paper
9" x 7"
2019
Thought Exercise IV
graphite on paper
4.5" x 6"
2019
Thought Exercise V
graphite on paper
6" x 4.5"
2019
Thought Exercise VI
graphite on paper
7" x 9"
2019
Thought Exercise VII
graphite on paper
6" x 4.5"
2019
Thought Exercise VIII
graphite on paper
10" x 13"
2019
I See You Here and Forever
Epoxy resin, eps foam, oil paint
32” x 82” x 24”
2017
Inheritance
Spray paint, urethane paint, stain, wood
13" x 58" x 11" ea
2019
Collectors Panel Discussion: Saturday, August 24th, 5:00-7:00 pm. – The Preservation of Art, Culture, and Legacy – Panelists: Amath Gomis, Gregory Morton and William Robinson. Moderator: Myrtis Bedolla
Art of the Collectors VII features works of art created by 20th and 21st century African and African American artists previously held in institution and private collections. Artists: Akili Ron Anderson, Benny Andrews, Romare Bearden, John Biggers, Ernest Crichlow, Sam Gilliam, Lois Mailou Jones, Jacob Lawrence, Ulysses Marshall, Valerie Maynard, Jonathan Pinkett, Frank Smith, Hughie Lee Smith, Lou Stovall, Bruce Onobrakpeya, Delilah Pierce, Stephanie Pogue, Faith Ringgold, Cullen Washington, Jr., James Lesesne Wells, Lorna Williams, Curtis Woody, Falaka Armide Yimer, and Purvis Young.
Faith Ringgold, Grooving High
Color Silkscreen 48/425, 35″ x 49″, Framed, 1996
Provenance: Johnetta B. Cole Collection
Artwork
Akili Ron Anderson (1946), Middle Passage, Colored Pencil, Ink and Metallic Paint on Paper, 24" x 31" Framed, 1986-1999, N/A, Ford Collection
Featured artists: Tawny Chatmon, Alfred Conteh, Jerrell Gibbs, Karina Griffith, Jas Knight, Arvie Smith and Felandus Thames.
Exhibition essay by Halima Taha. Curated by Myrtis Bedolla and Jessica Stafford Davis
Artwork
Tawny Chatmon
The Awakening: Covered
Photography, Photo- Manipulation, Montage, Embellished with 24k gold leaf
38" x 49" Framed
2017
Tawny Chatmon
The Redemption: Girl Enlightened
Photography, Photo- Manipulation, 24k gold leaf, Acrylic paint
51" x 62" Framed
2018/2019
Tawny Chatmon
The Redemption: Castles
Photography, Photo- Manipulation, 24k gold leaf, Acrylic paint
34.5" x 42" Framed
2018/2019
Tawny Chatmon
The Awakening:Not Charlotte
Photography, Photo- Manipulation, Montage, Embellished with 24k gold leaf
53" x 45" Framed
2017
Alfred Conteh RJ and His People
Acrylic on Canvas
84" x 47.5"
2019
Alfred Conteh
Lil' Will
Acrylic and Charcoal on Paper
36” x 28.5” Framed
2017
Alfred Conteh
Debo
Acrylic and Charcoal on Paper
36” x 28.5” Framed
2016
Alfred Conteh
Portia
Acrylic and Charcoal on Paper
36” x 28.5” Framed
2016
Jerrell Gibbs
Vive y Aprende
Oil on canvas
60" x 48" Unframed
2019
Jerrell Gibbs
Trees
Oil on canvas
36" x 48" Unframed
2019
Jerrell Gibbs
Quiero Amo
Oil on canvas
60" x 48" Unframed
2019
Jerrell Gibbs
Git It
Oil on canvas
48" x 36" Unframed
2019
Karina Griffith
Crude Processions (video clip)
Video
7 min. 1 sec.
2013
Jas Knight
Untitled (Androgynous female) Fugue No.5
Oil on linen
18" x 22" Sold unframed
2019
Jas Knight
Untitled Prelude No.4
Oil on linen
17" x 20" Sold unframed
2019
Jas Knight
(Androgynous female) Prelude No.5
Work on paper
32.5" x 27.5" Framed
2019
Jas Knight
Fugue No. 2 in Ultramarine & Black
Oil on linen
28" x 41" Sold unframed
2017
Jas Knight
Untitled (Two Men)
Oil on linen
35" x 47" Unframed
2019
Jas Knight
Fugue No.6
Oil on linen
28" x 22" Sold unframed
2019
Arvie Smith
Tight Rope
Oil on canvas
40” x 30” Framed
2014
Arvie Smith
Nigger Hair Tobacco
Oil on canvas
24” x 24" Framed
2009
Felandus Thames
Portrait of the First Post-Black Hairbeads on coated wire
24" x 39" x 1”
2019
Tawny Chatmon
