Previous Emerging Artists
In conjunction with MoAD’s 10th Anniversary, local artists Tim Roseborough and Cheryl Derricotte were awarded exhibition space as the first EAP winners beginning Nov. 11
Applicants submitted works that address the cultural and artistic richness of the African Diaspora which elaborated on MoAD’s four themes: origins, movement, adaptation and transformation. Roseborough is the first artist to exhibit in the museum’s multipurpose artwork space in the Salon gallery. His Four Themes exhibition is on view Nov. 11, 2015–Jan. 18, 2016. Derricotte’s exhibit, Ghost/Ships, is on view Jan. 27–April 3, 2016.
Panelists Emily Kuhlmann (MoAD’s Director of Exhibitions), Michael Warr (MoAD’s Deputy Director), Dr. Sarah Ladipo Manyika (Professor of Literature at San Francisco State University and board member), Melorra Green and Melonie J. Green (both local arts professionals) selected the winners of the program.
San Francisco-based Tim Roseborough literally leveraged MOAD’s mission and four themes by translating them into his unique Englyph writing system. Four Themes is one of the two collections of works that consists of seven digital prints and an animated video that joins all of the artwork thematically.
His practice includes a series of artworks rendered in Englyph – a conflation of “English” and “hieroglyphics”. Englyph was inspired by hieroglyphics – the hermetic language system of Egypt – whereby he weds the ancient tradition to contemporary digital culture. Englyph is a part of his ongoing effort to balance the worlds of form and idea in artworks that are both visually appealing and conceptually rigorous.
Roseborough is a digital artist whose work has been featured in numerous publications such as the San Francisco Chronicle, Artforum and SF Examiner. He has performed and showcased at the 2012 and 2010 ZERO1 New Media Biennials, San Francisco Museum of Modern Art and SOMArts Cultural Center, among others. He has also been awarded residencies at the Kala Art Institute in Berkeley and the School of Visual Arts in New York.
Cheryl Derricotte pays homage to Fred Wilson’s Mining the Museum by “mining the library” (the British Library) for images related to the global slave trade. This show includes approximately 20 works that reveal images of people from African descent who come from diverse locales and were involved in the trade.
Images of ships and oceans reveal how the art and culture of the African people have been dispersed all over the world. The exhibit will include portraits of enslaved people from the Diaspora, ships, oceans and botanical illustrations of cotton, which was a central crop to the institution of slavery and the basis of much of the early craft art.
Originally from Washington D.C., Derricotte is a visual storyteller who currently resides in Oakland, Calif. She holds a master of fine arts from the California Institute of Integral Studies (CIIS) and has been awarded Art Alliance for Contemporary Glass’ Inaugural Visionary Scholarship and a D.C. Commission on the Arts & Humanities /National Endowment for the Arts Artist Fellowship Grant. She’s exhibited at the Smithsonian Museum of Natural History, Florida State University Museum of Fine Arts and the San Francisco Airport Museum.
Four Themes and Ghosts/Ships ran concurrently with MoAD’s 2015 fall/2016 winter exhibitions, Alison Saar: Bearing and Who Among Us…: The Art of Kenyatta A.C. Hinkle.
California Artists Nyame Brown, Helina Metaferia, Lili Bernard, and Angie Keller
Awarded Exhibition Space as EAP Winners Beginning October 26, 2016.
The Museum of the African Diaspora (MoAD) today announced Nyame Brown, Helina Metaferia, Lili Bernard, and Angie Keller as the winners of the museum’s second annual Emerging Artists Program. The San Francisco Bay Area artists were selected from among 90 applicants for the opportunity to exhibit at MoAD. Applicants submitted works that address the cultural and artistic richness of the African Diaspora. Nyame Brown is the first artist to exhibit during this season of Emerging Artists with an exhibition entitled Classroom in Neveryon opening October 26, 2016, followed by: Home/Free by Helina Metaferia, on January 25, 2017, Antebellum Appropriations by Lili Bernard on April 26, 2017, and The Gladioli of El Carmen by Angie Keller on July 12, 2017.
Nyame Brown’s paintings and drawings are opportunities to explore the concept of Diaspora as Trans-Atlantic, psychic, and imagined spaces. As a tool to combat racial oppression, He sees his blackboard paintings as a cultural production of the black community providing space to create a new black mythology.
Home | Free addresses a diasporic longing for a physical and psychic home in a time of increased voluntary and involuntary mass migration of black bodies. Through an interdisciplinary practice of performance, video, installation, photography, objects, and mark-making, artist Helina Metaferia presents the complexity, transformation, and rebellion that come with migration, immigration, and gentrification. Home | Free explores the use of home-building materials as art objects and the visual language of maps, lines, text, and movement — all tools to help the body navigate the world.
Through large-scale oil paintings, Lili Bernard reconfigures the art historical canon by turning classical European paintings into slave narratives in her series, Antebellum Appropriations. Bernard’s work exposes the post-colonial paradigm of suffering and resilience, through a collision of cruelty against compassion. The generational struggle of her Afro-Cuban immigrant family and Caribbean ancestors, coupled with her personal experiences as a rape survivor, informs Bernard’s visual exploration of the impact of trauma and the unconquerable nature of the human spirit.
The Gladioli of El Carmen
The Afro-Peruvian women of the southern coastal town, El Carmen, inspired this project, The Gladioli of El Carmen. The gladiola, a delicate flower that originated in Africa, was a symbol of strength for the gladiators in Ancient Rome. This combination of delicacy and strength comes to life through my viewfinder as each woman presents herself as she wishes in her most familiar environment, her home. Angie Keller’s portraits attempt to correct their marginalization by deliberately centering them in the frame.
This project is made possible in part by the Institute of Museum and Library Services.