Touched that this video for my exhibit ‘We are Each Other’ came out the day my late parents would be celebrating their wedding anniversary. Without Lilleth and Ranville Clark, I would not be. Homage to my ancestors and all of my communities who helped to form me. When we acknowledge each other in the fullness of our humanity it is impossible to dehumanize each other. Much of that dehumanization is happening in Gaza and throughout the world. For these reasons we must demand a #ceasefire#freepalestine#endxenophobia , resist #islamaphobia and #antisemitism , and stand together for #humanrights .
Heartbroken…#RIP#SamGilliam
Mr. Gilliam (as I have called him since my childhood) taught me that “cloth is a monument.”
Honoring the power of his abstract paintings, may this new cultural ancestor’s work from the 2017 Venice Biennale* speak like an #Egungun to us all. Listen closely. His groundbreaking genius will continue to resonate.
I offer deep love and condolences to the Gilliam family who I adopted decades ago. And to all who were inspired by his unyielding creativity, may you continue to hear his message. *In 1972 he was the first Black artist to exhibit in the US pavilion at the #VeniceBiennale .
#groundbreaking#artist#art#ancestor#creativegenius#culturalancestor#abstractpainting#monumental#color#genius#painter#restinpower
547
18
2 vor Jahren
Repost from a year ago…
“I thought I wouldn’t see my #tatterbristlemend survey exhibit in #DC at the National Museum of Women in the Arts. For months, I lived vicariously through the generous photos and kind words many of you shared on social media.
Then, 3 things happened:
The museum extended the exhibit!
I was able to get my #vaccinationdone✔️ !
Got on my first plane in 15 months!
And, WOW! Being there gave me wings. It’s a manifestation of your support and the legacy of the ancestors. I’m deeply grateful for the vision of curator Katie Wat and her staff, each stellar member of the security team who amplified my work and shared poignant stories of what it meant to them, the stunningly beautiful installation, my beloved studio manager @megarseno and assistants, the receptive audience including dear friends/family, and my gallerists and collectors. Some of you are thinking: “Sonya came to town and didn’t tell me!” For this I beg your forgiveness. Too many beloveds, too short of a visit. My post pandemic travel game is not up to speed. I’ll try to do better next time.
For those who can get there, the exhibit is up through 6/27/21. You will see 100 artworks made over my 25 year career. You will meet the thoughtful security staff whose reflections on my art brought me laughter, tears, and new eyes. They are the true stars of the show. Post a photo of something that moved you so others who can’t make it can live vicariously too.
My heart is filled, thanks to all of you.
🙏🏾@womeninthearts#museumguardsaresuperheroes#black#blackart#blackartists#blackartistsmatter#womenartists#NMWA#art#artist#artwork#hair#cornrows#blackisbeautiful#blackhair#madamcjwalker#combs#blackhistory#1619project#ourstories#ourhistory#yellow#blackandwhite#grateful “
Coast to coast. #confederatesurrenderflag
Washington, DC: Opening May 13
‘Monumental’ on view at the Smithsonian American Art Museum’s Renwick Gallery in the group exhibit “This Present Moment”
Los Angeles: Opening May 14
‘Confederate, surrender’ at Mixografia with some other relevant pieces of mine.
One, a huge woven linen cloth.
The other, a hard-to-believe-its-paper print.
One acquired by the nation’s museum for the public.
The other, in an edition for the individual.
Both sign and signal the end of white supremacy.
@mixografia@fabricworkshop@americanart@renwickgallery@amhistorymuseum#textile#textileart#textileartist#monumentalcloth#americanhistory#craft
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14
2 vor Jahren
“these days. this history. this country.”(2019)
Despite the last part of its title, the piece and I, are currently in Italy. Specifically, I am in Rome, a place named for an Empire often celebrated despite its historical legacy of having a huge enslaved population.
My work is part of a group exhibition, Regeneration, at the American Academy in Rome that “considers decay as a destructive and generative phenomenon in diverse cultural contexts” and “how we conceive of and value change.” Twelve artists from five continents are included. As part of the opening events, I’m in conversation with co-curator, Lindsay Harris, and fellow artist, Guillermo Kuitica. @guillermokuitca@amacademyrome#civilwar#worldhistory#americanhistory#flags#americanflag#textiles and #monument#art#artexhibition#rome#dust#thread#weaving#unraveling#thingsfallapart
They’re here!
Twist metal type collector sets, ed. 24.
(Artwork #4 of 2022)
Designed in 2016, my ‘Twist’ #font resists the European dominance inherent in the Roman alphabet’s widespread use. Think of all the languages written in that alphabet! Inspired by curly DNA-filled strands, Twist re-centers Africa as the cradle of humanity and returns us all to our roots. Remember Ngugi Wa Thiongo’s groundbreaking book, ‘Decolonizing the Mind,’ in which he encourages African authors to write in any of the thousands of indigenous African languages rather than the colonizers? Even those African authors are relegated to the Roman script. Twist offers an artistic alternative.
Designed by Sonya Clark, digitally formatted by Bo Peng, named by #poet#RitaDove , and made into #metaltype at Swamp Press. Presented in handmade boxes by @amyborezo .
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#letterpress#letterpressprinting#font#fonts#script#alphabet#black#hair#blackhair#afro#afrofuturism
