Exhibitions

The Afro-Futurist Manifesto Blackness Reimagined Myrtis Bedolla Curator Venice…

The Afro‐Futurist Manifesto: Blackness Reimagined

about | artwork | artists & curator | curatorial statement | artist talk

Myrtis Bedolla, Curator

Myrtis Bedolla is the owner and founding director of Galerie Myrtis, an emerging blue-chip gallery and art advisory specializing in twentieth and twenty-first-century American art with a focus on work created by African American artists. Bedolla possesses over 30 years of experience as a curator, gallerist, and art consultant.

Established in 2006, the mission of the gallery is to utilize the visual arts to raise awareness for artists who deserve recognition for their contributions in artistically portraying our cultural, social, historical, and political landscapes; and to recognize art movements that paved the way for freedom of artistic expression.

Bedolla has recently gained national press in the New York Times article “Black Gallerists Press Forward Despite a Market That Holds Them Back” in June 2020 and authored “Why My Blackness is Not a Threat to your Whiteness” in Cultured Magazine in July 2020. Past coverage also includes being voted Best Gallery by the Baltimore Sun in 2017; “Black Art in the Spotlight,” Baltimore Magazine, September 2018; “Living with Art: Myrtis Bedolla Builds a Home and Gallery in Old Goucher,” BMORE Art, Issue 3; “Women in the Arts,” which honored women at the helm of the Baltimore art scene, Baltimore Style Magazine, October 2013.

Bedolla holds a Bachelor of Science degree in Business Administration from the University of Maryland, University College, received her curatorial training at the Maryland Institute College of Art in Baltimore, Maryland, and earned online certificates in Cultural Theory for Curators and Curatorial Procedures from the Node Center for Curatorial Studies, Berlin, Germany.

Board appointments: Association of Art Museum Curators & AAMC Foundation Trustee; University of Maryland Global Campus, Arts Program Chair; and the Municipal Art Society of Baltimore City Board.

Professional membership: Arttable
 
Image courtesy photographer Grace Roselli, “Pandora’s BoxX Project”
#graceroselli
#pandorasboxxproject

Artist

The Afro-Futurist Manifesto Blackness Reimagined Meet the Artist and…

Pastoral Scenes, Ralisha (detail) by Tawny Chatmon
On The Other Side Of Landscape Series #1 (detail) by Larry Cook
After All That We Still Stand When Black Lives Look Blue no.12 (detail) by Morel Doucet
We Outside (detail) by Monica Ikegwu
Tutnese Incantation, High John the Conquer & Deodate by M. Scott Johnson
Visionary (detail) by Delita Martin
Preach It (detail) by Arvie Smith
Door of the Cosmos by Falandus Thames
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Meet the Artist & Curator


Tawny Chatmon, Artist
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Tawny Chatmon (b. 1979, Tokyo, Japan) is a self‐taught, award‐winning artist who has been working in the field of photography for more than 17 years. The primary theme that drives Chatmon’s practice is celebrating the beauty of black childhood. She is currently devoted to creating portraits that are inspired by artworks spanning various periods in Western Art with the intent of bringing to the forefront faces that were often under‐celebrated in this style of work.

Museum Collection:
Minneapolis Institute of Art
Microsoft Corporate Collection
Petrucci Family Foundation Collection of African American Art
University of Maryland Global Campus


Larry Cook, Artist
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Larry Cook (b. 1986, Laurel, Maryland) is an award-winning photographer and conceptual artist whose work spans installation, video, and photography. Cook’s work explores the cultural aesthetic of “club” photography to examine how urban culture and incarceration systems become entwined through backdrops. The backdrop is central for its relationship to the formal, social, and cultural aspects of photographic history.

Museum Collections:
Baltimore Museum of Art (promised gift)
Museum of Modern Art
Harvard Art Museums


Morel Doucet, Artist
view resume

Morel Doucet (b. 1990, Pilate, Haiti) is a Miami‐based multidisciplinary artist and arts educator that hails from Haiti. He employs ceramics, illustrations, and prints to examine the realities of climate‐gentrification, migration, and displacement within the Black diaspora communities.

Museum Collections (selected):
Pérez Art Museum Miami (PAMM)
UK Contemporary Art Society, Plymouth Box Museum
Petrucci Family Foundation Collection of African American Art




Monica Ikegwu, Artist
view resume

Monica Ikegwu (b.1998, Baltimore, Maryland) is a figurative painter. She presents her ideas of the figure in a way that is not only captivating, but also unconventional in her use of color, texture, and composition.

Museum Collection:
Petrucci Family Foundation Collection of African
American Art






M. Scott Johnson, Artist
view resume

M. Scott Johnson (b. 1968, Inkster, Michigan) is a New York City‐based artist and educator, has carved out a legacy as one of the most stimulating and unique artists of his generation. M. Scott has explored, both in his practice and through his 20‐year visual arts teaching residency at the Schomburg Center for Research in Black Culture in Harlem, New York, a rich vision of contemporary Afro‐aesthetics.

Museum Collections:
The Hampton University Museum
The Schomburg Center Research in Black Culture
Embassy of Oslo Norway, Arts in Embassies Program




Delita Martin, Artist
view resume

Delita Martin (b. 1972, Conroe, Texas) is a master printmaker, illustrator, and painter based in Huffman, Texas. Through the weaving of history and storytelling, Martin offers a new narrative on the power of women whose stories are not only layered in textures and techniques but also symbolism.

Museum Collections (selected):
Crystal Bridges Museum
Minneapolis Institute of Art
Minnesota Museum of American Art
National Museum of Women in the Arts
Library of Congress
The Studio Museum in Harlem
Petrucci Family Foundation Collection of African-American Art


Arvie Smith, Artist
view resume

Arvie Smith (b.1938, Houston, Texas) transforms the history of oppressed and stereotyped segments of the American experience into lyrical two‐dimensional master works.

Museum Collections (selected):
Delaware Museum of Art
Hallie Ford Museum of Art
Petrucci Family Foundation Collection of African American Art
Portland Art Museum
Reginald F. Lewis Museum


Felandus Thames, Artist
view resume

Felandus Thames (b. 1974, Jackson, Mississippi) is a conceptual artist living and practicing in the greater New York area. Thames’ work attempts to transcend didacticisms that are typically associated with anachronistic understandings of representation and instead aligns itself with ideas around the taxonomy of human difference.

Museum Collections (selected):
Aspen Museum of Art
Petrucci Family Foundation Collection of African American Art
Smith Robertson Museum
Studio Museum of Harlem


Myrtis Bedolla, Curator
about myrtis

Myrtis Bedolla is the owner and founding director of Galerie Myrtis, an emerging blue-chip gallery and art advisory specializing in twentieth and twenty-first-century American art with a focus on work created by African American artists. Bedolla possesses over 30 years of experience as a curator, gallerist, and art consultant.

Established in 2006, the mission of the gallery is to utilize the visual arts to raise awareness for artists who deserve recognition for their contributions in artistically portraying our cultural, social, historical, and political landscapes; and to recognize art movements that paved the way for freedom of artistic expression.

Artist

UTA Artist Space – Literary Muse

UTA Artist Space in collaboration with Galerie Myrtis presents
Literary Muse curated by Myrtis Bedolla

Opening Reception: Saturday, September 4, 2-5PM
UTA Artist Space
403 Foothill Rd. Beverly Hills, CA 90210

utaartistspace.com


UTA Artist Space presents Literary Muse, a new group exhibition inspired by Black literary novelists, poets, and scholars, curated by Baltimore-based Myrtis Bedolla of Galerie Myrtis. On view from September 4 through September 25, 2021, the powerful presentation brings together paintings, photographs, prints, and sculptures by twelve contemporary artists working across the United States: Lavett Ballard, Tawny Chatmon, Wesley Clark, Alfred Conteh, Larry Cook, Morel Doucet, Monica Ikegwu, Ronald Jackson, M. Scott Johnson, Delita Martin, Arvie Smith, and Felandus Thames.

The incisive writings of Black scholars, poets, and authors of fiction bear the weight of a complicated history, at times celebrated and at others, bemoaned. In Literary Muse, their words are the interpretive impulse for imagery that defines the architecture of the Black ethos. The result is a visual vernacular constructed in paintings, photographs, prints, sculptures, and conceptual works composed in hair beads and wood that interrogates the inherent complexities of race.

Steeped in the writings of authors such as Ta-Nahisi Coates, bell hooks, Dr. Beverly Daniel Tatum, Charles Sowell, Alice Walker, and Isabel Wilkerson, these artists draw from a lexicon of Black narratives. They create visual illustrations that probe the connection between the past and present, challenge the inequalities of structural racism, honor the traditions of the Black family’s devoted fathers and mothers, encourage Black economic empowerment and selfhood, and give symbolic meaning to poetry and fiction through visual tropes that explore Black plight.

Looking for inspiration beyond the prose of philosophers, economists, theorists, psychologists, sociologists, and historians, artists turn to the lyrics of Black composers and vocalists elucidating a truth—a gospel truth—bound-up in ancestry and spirituality rooted in the polyrhythms of Africa. Here, they find their muse in rhythms first laid down in African American spirituals which influenced the gospel, jazz, R&B, hip-hop, and rap music of today. These are the sounds that permeate the artists’ studios, consciously and subconsciously inspiring works that touch the depths of our souls.

Through the confluence of literature and artistry, Literary Muse contextualizes the Black experience through a non-Western lens. The notion of Blackness, its history, ancestry, and culture are presented as written and interpreted by its people. Scholars and composers who might otherwise remain obscure are placed at the forefront, as their words influence profound works that offer critical discourse on that which affirms and defines what it means to be Black.

— Myrtis Bedolla

“Myrtis Bedolla has a sharp eye for extraordinary artists. To wield their art and animate the words of these great Black authors and poets—to bring their narratives to life visually—is a phenomenal talent,” says Arthur Lewis, UTA Fine Arts, and UTA Artist Space Creative Director.

image
Oluma x Chimdi x Anwi by Monica Ikegwu, Oil on Canvas, 36″ in x 48″ in, 2021,
Literary Muse: Beverly Daniel Tatum, Why are all the Black Kids Sitting Together in the Cafeteria?
Image courtesy of the artist and Galerie Myrtis

Renaissance: Noir at UTA Artist Space, Beverly Hills, CA…

UTA Artist Space is pleased to present Renaissance: Noir, a virtual exhibition featuring works by 12 emerging Black artists, live on UTAArtistSpace.com from June 9 – July 3, 2020. Curated by Myrtis Bedolla, Baltimore-based owner of Galerie Myrtis, Renaissance: Noir investigates Blackness on the continuum of the historiographies of Black artists’ narratives that assert, individually and collectively, their state-of-mind and state-of-being Black. The timeliness of the exhibition is particularly significant, as its launch comes amidst a heightened awareness of racial injustice against the Black community, with protests occurring around the world. The show marks UTA Artist Space’s first full virtual exhibition.

view the exhibition

The artists highlighted in Renaissance: Noir are Tawny Chatmon, Wesley Clark, Alfred Conteh, Larry Cook, Morel Doucet, Monica Ikegwu, Ronald Jackson, M. Scott Johnson, Delita Martin, Arvie Smith, Nelson Stevens, and Felandus Thames. Their work collectively captures the existence of “double consciousness,” as coined by W.E.B. DuBois, where one is constantly combating the “isms” —racism, colorism, sexism, capitalism, colonialism, escapism, and criticism through the act of artistic activism.

Exhibitions

Renaissance Noir UTA Artist Space

Renaissance: Noir
UTA Artist Space, Beverly Hills, CA
Curated by Myrtis Bedolla

UTA Artist Space is pleased to present Renaissance: Noir, a virtual exhibition featuring works by 12 emerging Black artists, live on UTAArtistSpace.com from June 9 – July 3, 2020. Curated by Myrtis Bedolla, Baltimore-based owner of Galerie Myrtis, Renaissance: Noir investigates Blackness on the continuum of the historiographies of Black artists’ narratives that assert, individually and collectively, their state-of-mind and state-of-being Black. The timeliness of the exhibition is particularly significant, as its launch comes amidst a heightened awareness of racial injustice against the Black community, with protests occurring around the world. The show marks UTA Artist Space’s first full virtual exhibition.

view the exhibition

The artists highlighted in Renaissance: Noir are Tawny Chatmon, Wesley Clark, Alfred Conteh, Larry Cook, Morel Doucet, Monica Ikegwu, Ronald Jackson, M. Scott Johnson, Delita Martin, Arvie Smith, Nelson Stevens, and Felandus Thames. Their work collectively captures the existence of “double consciousness,” as coined by W.E.B. DuBois, where one is constantly combating the “isms” —racism, colorism, sexism, capitalism, colonialism, escapism, and criticism through the act of artistic activism.

Renaissance: Noir Blackness on the Continuum


by Myrtis Bedolla, Curator

Catalogue

Women Heal through Rite and Ritual – Exhibition Catalog

Women Heal through Rite and Ritual

Exhibition Catalogue

Price: $25.00 USD + S&H

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 a traditional healer, conjure woman, and clairvoyant who dwells in both the physical and spiritual realms.

about the exhibition | artwork

Curatorial Statement by Myrtis Bedolla
 

Paperback: 53 pages | color
Year published: 2021
Language: English
ISBN: 978-0-9819602
Dimensions: 9 x 9 inches

Exhibitions

Reparations: Some Things are Just Owed and Some More…

Reparations: Some Things are Just Owed and Some More than Others

Solo Exhibition featuring Wesley Clark
September 22 – October, 31, 2019

artwork | artist statement | curatorial statement | about Wesley Clark

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

Exhibitions

Blackface Artwork

Blackface: A Reclamation of Beauty, Power and Narrative

April 20 – June 15, 2019

about the exhibition | exhibition essay

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

Exhibitions

Building Bridges II The Politics of Love – Identity…

Building Bridges II: The Politics of Love, Identity and Race

13th Havana Biennial, Havana, Cuba
April 12 – May 12, 2019

Galeria Carmen Montilla – photo by Chris Bedolla

Location
Galeria Carmen Montilla
Norma Jimenez Iradiz, Directora
Calle de los Oficios No. 162, Old Havana
Opening Reception: April 13, 2019, 6:00 pm – 8:00 pm

Curators Myrtis Bedolla and Ana Joa reunite for the second iteration of Building Bridges II: The Politics of Love, Identity, and Race. In bridging peoples, politics, and cultures, the exhibition investigates the dogma of love, gender politics, and prevailing assumptions about identity and race. We thank Eusebio Leal Spengler, Old Havana Restoration Project for his support.

Los curadores Myrtis Bedolla y Ana Joa se reúnen para la segunda versión de Haciendo Puentes II: La Política del Amor, la Identidad y la Raza. Al unir a los pueblos, la política y las culturas, la exposición investiga el dogma del amor, la política de género y los supuestos prevalentes sobre la identidad y la raza. Agradecemos a Eusebio Leal Spengler, Havana Vieja Restauracion Proyecto por su apoyo.

American Artists: Tawny Chatmon, Wesley Clark, Larry Cook, Alfred Conteh, Anna U. Davis, Morel Doucet, Vance Gragg, Susan Goldman, Michael Gross, Ronald Jackson, M. Scott Johnson, and Delita Martin.

Cuban Artists: Julia Valdés Borrero, Luis Jorge Joa, Daylene Rodriquez Moreno, Caridad Ramos Mosquera, Zaida del Rio, Eduardo Roca Salazar (Choco), Alicia Leal Veloz, and Jorge Jacas Vivanco.


Artwork


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