Thursday, January 19, 2017


Kapwani Kiwanga: the sum and its parts
January 20 - March 12, 2017

915 East 60th Street
Chicago, IL

For her first solo exhibition in the United States, the Paris-based Kiwanga presents a site-specific installation, video, and prints that draw on the artist's research into the design of institutional spaces.

Wednesday, January 18, 2017


Mickalene Thomas: Waiting On A Prime-Time Star
January 18 - April 9, 2017

Tulane University
Woldenberg Art Center
New Orleans, LA

This exhibition highlights Thomas's strategy of working across different media -- whether collage, painting, print, film, or installation -- as part of her creative process. Blurring the boundaries between representation and abstraction, she, in turn, confronts the objectification of women while simultaneously offering a vocabulary for redefining notions of femininity.


Artist Mickalene Thomas discusses Michelle Obama and Solange Knowles


Build Therefore Your Own World
January 7 - February 18, 2017

2727 South La Cienega Boulevard
Los Angeles, CA

An exhibit of new works by the Los Angeles-based artist. The title is excerpted from a Ralph Waldo Emerson essay. 

A catalogue will be published in conjunction with the exhibition. 



Two Fronts: Surface and Reason
January 27 - March 2, 2017

75 Bennett Street, Suite O-2
Atlanta, GA

Tuesday, January 17, 2017


FOCUS: Stanley Whitney
January 21 - April 2, 2017

3200 Darnell Street
Fort Worth, TX

Monday, January 16, 2017

CHICAGO: Rodney McMillian

Rodney McMillian: a great society
January 12 - March 26, 2017

111 South Michigan Avenue/159 East Monroe Street, Gallery 186
Chicago, IL

Three recent acquisitions on view represent the last decade of the artist's work in video. 

ST. LOUIS: Rodney McMillian

New Media Series: Rodney McMillian
December 16, 2016 - March 19, 2017

One Fine Arts Drive
St. Louis, MO

New Media Series: Rodney McMillian presents the single-channel color video A Migration Tale (2014-15) by the Los Angeles-based artist (Gallery 301, Main Building.)

COVER: Kadir Nelson | The New Yorker | January 16, 2017

Autographed open edition of this image is for sale here.

Sunday, January 15, 2017

Thursday, January 12, 2017


January 12 - February 25, 2017

Featuring works by

Nina Chanel Abney
Jordan Casteel
Mickalene Thomas
Brenna Youngblood

Avenue Louise 430
Brussels, Belgium

Wednesday, January 11, 2017

SAN FRANCISCO: Toyin Ojih Odutola

A Matter of Fact: Toyin Ojih Odutola
October 26, 2016 - April 2, 2017

685 Mission Street (at 3rd)
San Francisco, CA

Tuesday, January 10, 2017

ORLANDO: Posing Beauty in African American Culture

January 13 - February 5, 2017

Curated by Dr. Deborah Willis 

Featuring works by

Anthony Barboza
Sheila Pree Bright
Renee Cox
Charles "Teenie" Harris
Jeanne Moutoussamy-Ashe
Gordon Parks
Bayeté Ross Smith
Jamel Shabazz
Hank Willis Thomas
Mickalene Thomas
Carrie Mae Weems

1013 East Colonial Drive
Orlando, FL

420 East Church Street
Orlando, FL

SNAP! DINNER SERIES presents: Posing Beauty with Dr. Deborah Willis!
Friday, February 3, 2017, 7:00 pm to 10:00 pm EST

Exclusive event will host ONLY 60 SEATS! 

Click here for ticket info.

Monday, January 9, 2017

NEW YORK: FOR US, BY US (Pop-up Exhibition)

January 13 - February 5, 2017

Featuring works by

Stacey Billups
Earamichia Brown
Bisa Butler
Eddie Fontno
Kevin Harry
Kimberly Mayhorn
Adreinne Waheed
Jason Wallace 
Crystal Whaley
Erika Wortham

2073 Adam Clayton Powell, Jr. Boulevard
New York, NY

Closing Event: One on One with Kevin Harry - Thursday, February 2, 2017, 7 pm to 8:30 pm

NEW YORK: Jack Whitten

January 26 - April 8, 2017

548 West 22nd Street
New York, NY

Sunday, January 8, 2017


November 17, 2016 - February 18, 2017 

Curated by Jeffreen M. Hayes, PhD

Featuring works by

Yaw Agyeman
Wesley Clark
Nathaniel Donnett
Shané K. Gooding
Esau McGhee
Johana Moscoso
Wanda Raimundi-Ortiz
Ellington Robinson
Stacy-Lynn Waddell
Rhonda Wheatley
Wilmer Wilson IV

1104 South Wabash Avenue
Chicago, IL

Curator's Lecture: Thursday, February 9, 2017, 6 pm 
623 South Wabash Avenue, Room 203
Chicago, IL

PHILADELPHIA: High John the Conqueror Ain't Got Nothing On Me

American Hoodoo and Southern Black American-centric Spiritual Ways
January 21 - March 18, 2017

Curated by Danny Simmons and Shantrelle P. Lewis

Featuring works by

Xenobia Bailey
Leonardo Benzant
Gregory Coates 
Niki Hunter 
Fabiola Jean-Louis
Johnny Mattei
Anthony Carlos Molden
Marilyn Nance
Gabriel Pacheco
Fahamu Pecou
Alexis Peskine 
Kevin Sampson
Renee Stout

4956 Old York Road
Philadelphia, PA

Saturday, January 7, 2017

NEW YORK: High John the Conqueror Ain't Got Nothing On Me

American Hoodoo and Southern Black American-centric Spiritual Ways
January 12 - February 10, 2017

Curated by Danny Simmons and Shantrelle P. Lewis

Featuring works by

Kimberly Becoat
Michaela Pilar Brown
Jerome China 
Thom Corn
Vanessa German
Allison Janae Hamilton
Theodore Harris 
Aaqil Ka
Novis Junior & Terence Nance
Donald Odita
Kenya (Robinson)
Deborah Singletary
Noah Smalls
Nyugen Smith

526 West 26th Street, Suite 311
New York, NY

IN THE NEWS: Eric Mack

Bright Young Stars

COVER: Kerry James Marshall | Artforum | January 2017

NEW ORLEANS: Rashaad Newsome

January 14 - February 12, 2017

bell hooks: Cultural Criticism & Transformation Film & Discussion
January 15, 2017

Rashaad Newsome: Mélange Performances
January 20, 2017

Mélange After Party with DJ Jubilee and DJ MikeQ
January 20, 2017

Conversation: Rashaad Newsome with Amanda Hunt
January 21, 2017

900 Camp Street
New Orleans, LA

MEDIA NEWS: Putting a lens on race, photography, and citizenship

Harvard scholar Sarah Lewis's work is having quite a moment

Friday, January 6, 2017

EVENT: Conversation with Theaster Gates and Hamza Walker

Sunday, January 12, 2017, 2:00 PM

6750 Santa Monica Boulevard
Los Angeles, CA

RSVP requested to

LONDON: Tameka Jenean Norris

Tameka Jenean Norris: Cut From the Same Cloth
November 25, 2016 - January 17, 2017

22 Dering Street
London, UK


US IS THEM: Art from the Pizzuti Collection
January 27 - May 24, 2017

Featuring works by

Derrick Adams
El Anatsui
Nick Cave
Noah Davis
Omar Victor Diop
Edouard Duval-Carrie
David Hammons
Trenton Doyle Hancock
Lyle Ashton Harris
Titus Kaphar
Simone Leigh
Mustafa Maluka
Wangechi Mutu
Aminah Robinson
Yinka Shonibare
Jeff Sonhouse
Pascale Marthine Tayou
Mickalene Thomas
Hank Willis Thomas
Kara Walker
Nari Ward
Carrie Mae Weems
Kehinde Wiley
Fred Wilson

2 Fulton West 
Grand Rapids, MI


Here + Now
January 27 - March 31, 2017

Featuring works by

Nakeya Brown 
Rashida Bumbray
Mario Moore

Guest curator, Janice Bond

2 Fulton West 
Grand Rapids, MI

Monday, January 2, 2017

Friday, December 30, 2016

CHICAGO: Art AIDS America Chicago

Art AIDS America Chicago
December 1, 2016 - April 2, 2017

Organized by Tacoma Art Museum in partnership with Bronx Museum of the Arts

Featuring works by

Willie Cole
Gerald Gaskin
Derek Jackson
Glenn Ligon
Kalup Linzy
Whitfield Lovell
Patric McCoy
Howardena Pindell
Marlon Riggs
Israel Wright

2401 North Halsted Street
Chicago, IL

Tuesday, June 21, 2016

NEW YORK: Xaviera Simmons

June 22 - July 29, 2016

512 West 19th Street
New York, NY


The Kitchen is pleased to present CODED, an exhibition of works by Xaviera Simmons featuring new and recent photographic, audio, video, text-based sculptural work and ultimately a movement-based performance. Her dynamic, interdisciplinary approach to art-making is rooted in an ongoing investigation of experience, memory, and present and future histories, specifically focusing on shifting notions surrounding landscape and character, as well as conversations between formal processes.

With CODED, Simmons continues to mine art historical sources, Internet media, and archival images, in this case as they relate to queer history, homoerotic imagery as well as Jamaican dancehall culture, to construct a new, cohesive conceptual territory. Simmons’ particular vocabulary of movement, reference, sense, text, breath, sound, and image offers ways of looking at mapping, sexuality, gender, pleasure, and sensuality in a queer context and in an island context. The exhibition is the foundation for a unique choreographic score for the forthcoming performance work. Through the sensual, through movement, her works push towards a committed practice of visual freedom.

Monday, April 25, 2016

BOSTON: Radcliffe Bailey

Radcliffe Bailey, Notes from Tervuren, 2014, gouache, collage, and ink on sheet music, 22 3/8 x 18 7/8 x 1 1/2 inches (framed).
Image via

Being Imperceptible
April 1 - May 28, 2016

450 Harrison Avenue
Boston, MA

Text by Kevin Sipp via

RADCLIFFE BAILEY'S work collectively builds an alternate history of transatlantic slave narratives, accounts and histories of culture, science, and art making; histories that ask the perennial ‘what if’ questions that haunt human history. How we process stolen legacies, devalued humans, unrecognized aesthetic practices and balance their retelling through the lens of modernism and post modernist angst will keep all, us (and them) busy for years to come. No matter the weight of the subject, Bailey finds a way to bring the wonder of freedom to the table. His aesthetic drapetomania pushing our eyes forward, past nostalgia into two and three-dimensional stagings that interrogate the past and present all at once. West African ritual mark making, Dadaist and Surrealist technique, the ghosts of Negritude and Harlem Renaissance aspirations, Expressionist abstractions coupled with cosmic and free jazz influences, folk and funk art, revising stories, retention and contemporary innovations all maneuvered into place; a well staged ensemble propelling conversations around the valuation and re-evaluation of African minds, bodies, and myths.

Radcliffe Bailey's luminous series Notes from Tervuren is a fine example of his unconventional historical narration. Paint applied like sacrificial fluids amid an orchestra of collaged floating signs and sacred symbols wrapped around collaged totems layered and lacquered on aged and weathered sheet music. In his book, Bluetopia: Visions of the Future and Revisions of the Past in the, works of Sun Ra, Duke Ellington and Anthony Braxton, Graham Lock describes music as a complementary form of history and a gateway to other realities. This idea argues music, as a creative vehicle, helped Africans in the Diaspora envision a promised land of the future and recall the memory of a promised land lost in past. The figures in the Tervuren series move, animated by centuries of waiting. Ki-Kongo Nkisi language and culture co-mingles with representations of Mende womanhood in the watery dream world of Olokun spirituality. These artifacts provide a dream of agency and autonomy, visualized as aquatic movements spanning the expansive journey, that Middle Passage, from Mythic Africa to present Diaspora through art world stylisms. Ancestral objects surrounded by chaotic rainbows echo the twilight colors of coming night and dawning day, spirits of memory evoking griots dancing mambos, ghost singers and tale tellers.

Art is one of the ways we humans keep our history, our community, our faith, our prophetic and speculative hopes alive. Art keeps the voice of our love and hate. It speaks to the blues of our glass hearts breaking. It speaks to the piecing of our Osiris selves back together. It is how we give voice to our gods and have them sign their names. It is the hoodoo child coming of age in all of us, fighting to keep a consumed, magical world populated by living myth and ever present wonder. It simultaneously keeps and transforms the narrative of history. Radcliffe Bailey’s art is an heir to a Pan African, Pan Aesthetic patchwork high culture that has consistently carried the weight of art's communal purpose. Let us all celebrate this griot's song.

Radcliffe Bailey was born in Bridgeton, New Jersey in 1968, and grew up in Atlanta, Georgia, where he currently lives and works. Bailey received a B.F.A. in 1991 from The Atlanta College of Art. His past exhibitions include, Memory as Medicine, High Museum of Art, Atlanta (2011), which traveled to the Davis Museum and Cultural Center, Wellesley College (Wellesley, MA), and the McNay Art Museum (San Antonio, TX). New/Now: Radcliffe Bailey, New Britain Museum of American Art, New Britain, CT (2004), Neo-HooDoo, curated by Franklin Sirmans and organized by The Menil Collection (Houston, TX) at the Miami Art Museum, (Miami, FL 2009), and traveled to MoMA P.S.1, (NY, NY, 2009). Bailey’s work is in the collections of the Metropolitan Museum of Art (NY. NY), the Smithsonian Museum of American Art (Washington, D.C.), the Corcoran Gallery of Art (Washington, D.C.), the Museum of Fine Arts (Houston, TX), the Nelson-Atkins Museum of Art (Kansas City, MO) and the High Museum of Art (Atlanta, GA), among others.

Saturday, April 16, 2016

TRANSITION: Malick Sidibé (1936 - 2016)

Malick Sidibé, Photographer Known for Social Reportage in Mali, Dies at 80

Text | William Grimes for
Published | April 15, 2016

Malick Sidibé, whose black-and-white photographs of young partygoers captured the exuberance of newly independent Mali in the 1960s and ’70s and made him one of Africa’s most celebrated artists after his work was shown abroad in the 1990s, died on Thursday in Bamako, Mali. He was 80.

His son Karim Sidibé said the cause was complications of diabetes, The Associated Press reported.

Read full article here

Thursday, April 14, 2016

CHICAGO: Zohra Opoku

Draped Encounters/Beyond Visage
April 14 - May 14, 2016

Curated by Erin Gilbert

3709 North Southport Avenue
Chicago, IL


Kruger Gallery Chicago presents Draped Encounters/ Beyond Visage, the first US solo exhibition of works by Ghanaian-German artist Zohra Opoku. Opoku is a photographer, filmmaker and installation artist whose work is informed by fashion, nature, Ghana and psychic energy.

Draped Encounters/Beyond Visage presents two recent bodies of work shot between 2012 and 2015. Opoku is a former fashion designer, who employs textiles and the language of fashion to explore issues of identity and representation. In carefully choreographed moments of tropical gardens and urban ruins, Opoku interrogates the relationship of textiles to natural and built environments. In her photographs, films and installations, Opoku uses second hand textiles, imported from Europe and the US to Ghana, to thread an African feminist handwriting in the work. Staged in Accra, Ghana, these images document the travels of a woman of African descent who performatively traced the transatlantic.

The first body of work, entitled Handwash Only, began in 2008 and was originally conceived of as a research series. Named for the washing instructions on clothing tags, this series addresses the daily hassle of washing by hand in Africa.  These images capture clothes hung by the owner and rearranged in a gust of wind. These natural compositions offer a glimpse from the public sphere to the private sphere, mythologizing the owners, seen only through their laundry-hanging rituals. These clothes represent a shared experience. Opoku observed that the African wax print, which she associates with a classical Ghanaian dress code, is seldom seen on traditional clotheslines. To create the illusion of Ghanaian identity, Opoku includes the rarely found African print wax in her clothesline compositions.

The second body of work is a set of film stills from Textures in Motion which bears witness to the engagement between the body, textile and environment. In the video Ms. Opoku uses artists as models, then drapes and disguises them to mimic a distinctly west African mystical practice of masquerade. Rather than the physical identity it is the psychic energy, the movement of the artist, which renders them visible in these draped encounters.

According to Okopu, “The entity or force of a spirit: In the African world the Western differentiation between consciousness and unconsciousness does not exist. Africans invented different names for the soul, which can be located outside a body. It is called “sassa” by the Ashantis. In my disguise practices I capture what we can’t see with our physical eye — the dynamic spirit “sassa.” (Ours Lagos Photo 2015 Festival Interviews).

Zohra Opoku (b.1976) is a German born, Accra-based versatile artist whose work employs media including installations, photography and video to explore the sophistication of textile cultures in disparate spaces targeting fashion’s political and psychological role and socio-cultural dynamics in relation to African history and individualistic or societal identities. Opoku received an MFA from the University of Applied Sciences in Hamburg.

Opoku has been included in exhibitions nationally and internationally. In 2015 alone she was featured Material Effects at the Eli & Edythe Broad Art Museum, East Lansing, Michigan; Future Africa: Visions in Time in Denmark; Making Africa at the Guggenheim Bilbao; and Making Africa at the Vitra Design Museum, Weil am Rhein, Switzerland. Her work has been exhibited in galleries in London; Berlin; Accra, Ghana; and Capetown, South Africa. Her work will be featured in a solo presentation at 1:54 Art Fair in New York, May 6-8, 2016 by Mariane Ibrahim Gallery.

Tuesday, April 12, 2016

NEW YORK: Charles Gaines

March 31 - April 30, 2016

534 West 21st Street  
New York, NY


The Paula Cooper Gallery is pleased to present a group of eight new large-scale triptychs by Charles Gaines, entitled Numbers and Trees: Central Park Series I. The works constitute a continuation of this prolific artist’s acclaimed series, Numbers and Trees, begun in 1987.

For more than forty years, Charles Gaines’ art has explored the relationship between aesthetics, politics, language and systems. Gaines employs rule-based methodologies to investigate ways in which meaning can be experienced in images and words. Informed by sources as varied as Tantric Buddhist drawings, the systemized work of Hanne Darboven, and John Cage’s notions of indeterminacy, Gaines creates work that often employs plotting and mathematics to organize visual components. While appearing systematic and scientific, Gaines’s works ultimately refrain from producing empirical knowledge, preferring instead to invoke the viewer’s subjective response. They explore an individual’s perception, expression and speculative thought, as they operate both within and against a system.

Charles Gaines’s new work, Numbers and Trees: Central Park Series I, marks an extension of his early interest in serialized projects. For each of his eight triptychs, Gaines divides and mounts a black and white photograph of a tree in Central Park, taken at the time of the artist’s 2014 exhibition at the Studio Museum in Harlem. Enclosing each panel within an acrylic box, screened with grids of half-inch squares, he graphs the silhouette of the tree directly onto the overlaid acrylic surface. Filling cells with vibrant paint, Gaines plots numbers to index the leaves and branches of each tree; he begins at the center of the trunk, counting outward in both directions to create a pixelated image guided by a numerical system. As the series progresses, the catalog of previous trees, each denoted by a different hue, appears on every subsequent triptych, resulting in a prismatic kaleidoscope of layered colors. The cumulative effect bridges the expressive sublime with the schematic referent.

Also on view are six new works from Gaines’s Librettos: Manuel de Falla / Stokely Carmichael series. These works unite a score by composer Manuel de Falla from his 1904 Spanish opera La Vida Breve –a tragic story of a love affair doomed by social mores and class differences– with the language of an impassioned and oratorically rhythmic 1967 speech by Stokely Carmichael (a Black Panther Party member and civil rights activist), in which Carmichael advocates that African Americans refuse to serve in the Vietnam War as an act of self-determination in the face of oppression. Transposing Carmichael’s speech as operatic libretto, Gaines activates text as the measure of process and duration and reveals affinities between these seemingly discordant sources. The nuanced combination of music and text composes a ballad for the enduring history of race-class inequalities as well as the capacity for art to provide emotional egress.