UNSEEN | Clarence Heyward
March 19, 2022
UNSEEN, not because we literally cannot be seen, but because we are not seen for who we really are. We being Black people in America.
American media is saturated with false narratives and imagery which has created false perceptions of Blackness, leading to the degradation and dehumanization of Black people.
Ironically, this body of work was created as I saw myself in someone else on television. As I watched the murder of a Black man, a father, a brother, and a son, I saw myself and couldn’t help but think…That could be me.
October 1, 2021 – February 13, 2022
Photo Mural Project
Exterior Wall and Stair Landing
Mikael Owunna + Marques Redd | CAM Connections
November 14, 2021
Kennedi Carter: Flexing / New Realm
March 6, 2020 – October 03, 2021
Independent Weekly Gallery
The verb “to flex” essentially has one of two meanings. It can mean to show off, to gloat, or to boast, which is the most popular definition of the word; however, it can also mean to put on a fake front, to fake it, or force it. The second definition is usually used in conjunction with the first — as in, someone who’s gloating about something that they’ve really got no right to gloat about, lying about an accomplishment, or exaggerating the truth.
Malik: Sovereign of Faith | Lakea Shepard
September 16 – August 29, 2022
New Media Gallery
Comprised of the artist’s signature sculptural masks from several series, this new installation is the artist’s desire to refocus our attention on the aesthetics and traditions of African Art and its collisions with contemporary culture through appropriation and a default/failure of respect, recognition, and value of original meaning and power.
“With this work, I am taking back what was meant to be for my black brothers and sisters, and our ancestors too.”
Lakea’s practice in weaving, textiles, and beadwork are a series of complex interactions between physical elements and personal narration connecting her work to our lives and the personal histories of friends, family, and a universe of loved ones.
Laocoön and the Algorithm | Taylor White
September 4, 2020 – August 8, 2022
Street Gallery Mural Project
“The mural interprets the Greek sculpture of Laocoön, notable because of its visceral depiction of human agony with no apparent power or reward. In Virgil’s Aeneid, Laocoön was a priest of Poseidon who attempted to expose the ruse of the Trojan horse by striking it with a spear. Metaphorically, of course, the phrase “Trojan horse” has come to mean any trick or stratagem that causes a target to willingly and unknowingly invite a foe into a protected place.
Today, we live in a world where every move we make online is tracked. Using a barrage of loud and audacious images disguised as entertainment, we cavalierly accept the terms and conditions more and more of our psychological and emotional freedom in exchange for the illusion of safety and purpose.”