Winners of the Emerging Artists Program 2019-20
Chanell Stone’s practice is invested in challenging insular views of Blackness by expanding on narratives subject to Black erasure. This avidity has led her to explore the re-naturing of the Black body to the American landscape. Fueled by the conflicting lineage surrounding the African American legacy and nature, she is inspired to create work that highlights this longstanding connection to the land. Specificity is placed on urbanized African Americans living in dense cities and the disconnection from nature that often inherently follows this lifestyle. In her practice, she is analyzing the Black body’s presence within urban “forests” as an effort to reclaim and reconnect to nature itself even within the confines of the man-made environment. Through a compilation of environmental portraits, she explores the notion of “holding space” within one’s environment and the nuances of compartmentalized nature. Through the use of black and white analogue photography Chanell aims to expand the canon of traditional photography.
Sydney Cain is born and raised in San Francisco. Her work is largely on paper using dye, graphite, and chalk as emblems of impermanence and transformation. She investigates remembrance, evolution and spirituality from my perspective as a queer black woman. The encoded language of DNA is deciphered through the practice of drawing contributing to a collective black mythos. Her current work is founded on genealogy research alongside the effects of urban renewal. Cain has exhibited throughout the Bay Area including SOMArts, Betti Ono, San Francisco Arts Commission, and the African American Arts and Culture Complex.
Vincent Miranda is an interdisciplinary artist from South Florida, living and working in San Francisco, California. Using sculptural investigations, his work explores an upbringing in the Contemporary South, and is subsequently informed by Southern hip-hop, Lean, and The Come Up. Employing methods of mold making, glass blowing, and hyperreal pigmentation, Miranda creates a space in which you’re presented with hanging silicone skins and sagging walls; a landscape that is weighted and correlates with that slow-moving, Southern drawl. He has shown at Yerba Buena Center for the Arts, Charlie James Gallery, and received his MFA from California College of the Arts in 2019.
Winners of the Emerging Artists Program 2018-19
Indira Allegra: BODYWARP
Warp is the vertical thread held under tension on a loom, making the act of weaving possible. BODYWARP is a solo exhibition by Indira Allegra exploring weaving as performance requiring a unique receptivity to tensions extant in political and emotional spaces. BODYWARP explores looms as frames through which the weaver becomes the warp and is held under tension, performing a series of site-specific interven-tions using her body. Like the accumulation of memory in cloth, looms and other tools of the weaver’s craft become organs of memory, pulling the artist’s body into an intimate choreography between maker, tool and the narrative of a place.
5/5 Collective: black now(here)
Founded in 2017, 5/5 Collective was born from a desire to recognize, support, and make visible the diversity of Black experiences and to encourage dialogue amongst artists throughout the African Diaspora. Each artist works independently, but all dedicating their practices to the exploration of Black(ness) as an idea, consciousness, reference, and embodied experience through space, language, and visual culture.
In black now(here), each artist approaches a unique narrative with an experimental process of their own — Inspired by cultural traditions of Nigeria, Nkiruka materializes an interior landscape through performance and video to construct new portraits that envision a deeper connection to place and home; Tania Balan-Gaubert compiles a “family album” of photographs that feature discarded furniture to address displacement, long-distance nationalism, and belonging; Troy Chew employs collage, painting, and symbolism to speak to the Trans-Atlantic slave trade and its effects on the fabric of African-American culture.
black now(here) is an exploration of presence. This exhibition offers space to reflect on what it means to exist in chaotic times and reclaim a sense of belonging. 5/5 retraces their lineages and creates connections between homelands, history, and the present.
Rodney Ewing: Longitude + Latitude
Re-examining complex and marginalized social histories, Rodney Ewing presents Longitude and Latitude, an installation of mixed media works on paper created during his residency at the Bemis Center for Contemporary Arts and the Djerassi Resident Artists Program. Exploring social and historical narratives of forced migration or displacement, Longitude and Latitude considers mnemonic geography and the intersections of body, place, and memory within the African diaspora.
Angela Hennessy: Everybody Loves the Sunshine
Drawing its title from the 1976 Roy Ayers song and album of the same name, Everybody Loves the Sunshine, this solo exhibition of the work of artist Angela Hennessy utilizes hair and tactility as a way to mark the relationship between the living and the dead, joy and melancholy, the material and the immaterial.
Hennessy provides an offering of floral objects and arrangements made from intricately hand-woven, crocheted, and braided hair, including a multi-toned and multi-textured hair “sunset.” These offerings call upon both African and European grief and mourning practices, as well as the significance of hair in racial identity and beauty politics.
DeShawn Dumas: Against the End of History
Against the End of History, a solo exhibition by DeShawn Dumas presents painting, video, and the artist’s self-described ballistic monochromes, in a multimedia installation that situates the sacred within the political.
In this exhibition, Dumas counters the assertion of liberal democracy as the final form of human government and defender of human dignity as established by American political scientist Francis Fukuyama in his 1989 essay “The End of History?”.
Dumas deploys the visual languages of abstraction and minimalism to explore the psychic and historical afterlives of slavery, the increasing cultural predominance of militarized policing and the ecological catastrophe of climate change. Inhabiting the terrors of a past, not yet past, Against the End of History offers a space to contemplate the struggle for future(s) worth living.
Winners of the Emerging Artists Program 2017-18
Ebitenyefa Baralaye: Many Rooms
Many Rooms explores the experience of disparate presence in relation to home, faith, geography and culture. Interdisciplinary artist, Ebitenyefa Baralaye, examines ways to name the compounded realities and spaces reconciled in a diasporic mindset through form, pattern, and symbolism. Sourcing his own narrative of migration from Nigeria, through the Caribbean and to the United States, Baralaye creates a visual language intended to mediate engagement and displacement and deconstruct spirituality, emotion and culture relative to his own experience.
Baralaye’s life and generation dwells in the engagement of fragmented and transitional being, increasingly used to holding multiple understandings of where we come from, where we are and the realities we are intended for. In his work, Ebitenyefa composes objects that are markers of place, narrative, state and the dualities around them.
To be part of the diaspora means to be present in certain ways – mentally, emotionally and spiritually – in a number of different places and modes. He associates this array of presence to an array of “many rooms”, drawing a parallel to inhabiting the several spaces that create one home. Baralaye presents this negotiation of an African Diasporic identity as its own cultural entity with a distinct aesthetic articulation.
This exhibition was made possible in part by the Institute of Museum and Library Services.
Simone Bailey: Let There Be Darkness
Let There Be Darkness embraces darkness as a tactic of self-liberation from neocolonial conditions imposed on black Americans today. The body of work draws from Simone Bailey’s investigations of the impulse to grasp the intangible, as well as her focus on perception, process, ephemerality, desire, violence, and the impossible. The exhibition bridges past and present as a proposition for the future by exploring ways in which existing black American culture can provide useful tools and messages to apply to today’s concerns.
Andrew Wilson - Equivalencies: Abandoned Bodies
Equivalencies: Abandoned Bodies thinks through the ways in which we remember people in relationship to their physical space and the objects associated with their bodies. This exhibition investigates how we remember the dead, asking us to contemplate the parallels between those who have passed and our enduring memories, as we take them with us in the future.
Multimedia artist, Andrew Wilson, uses the measurements from stowage system of the infamous slave ship Brookes, to creates what can be perceived as graves or plinths. In comparable scale and organization with the ship, each platform holds objects of the deceased – a sewing machine, bronze cotton boll husks, cowrie shell regalia, an American Empire chair, a pocket watch, human hair and crowns. Each item serves as a reminder of the departed individuals, and also elevates these mundane objects to a supernatural realm.
summer fucking mason: Gemini
Presented as an immersive installation, LA-born filmmaker summer mason’s short essay film Gemini explores personal narratives through familial representations. Navigating the balancing act of femininity and masculinity, this exhibition interrogates the dissonances and continuities of one’s perception of themselves and the authentic self.
Filmed primarily in Oakland, CA, each scene presents an intimate portrait, reflecting a pivotal moment in mason’s personal relationships. mason pairs this imagery with a collage of audio from a myriad of films including This is Jimi Hendrix (1973), Dirty Dancing (1987), and Crooklyn (1994) as well as vocals from English punk band, X-Ray Spex.
Through Gemini, mason parallels the negotiated black masculinity of these cultural personas with their own reflection on the process of understanding their own queer identity as shaped by important figures in their life.
This exhibition is dedicated to their younger self.
Original score by Imogen Teasley-Vlautin
Songs featured by Moonbow and Kohinoorgasm
Winners of the Emerging Artists Program 2016-17
Nyame Brown: Classroom in Nevérÿon
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.
Helina Metafaria: Home | Free
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 | Freeexplores 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.
Lili Bernard: Antebellum Appropriations
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.
Angie Keller: 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.
Winners of the Emerging Artists Program 2015-16
Tim Roseborough: FOUR THEMES
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 Patrice Derricotte: GHOSTS/SHIPS
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.