Longshoremen Local 1416 is part of Miami Museum of Contemporary Art of the African Diaspora’s (Miami MoCAAD) public art mural series, Veo Veo, I See I See, Mwen Wè Mwen Wè. Miami MoCAAD's interactive mural honors the International Longshoremen Association (ILA) Local 1416, an essential part of the Overtown community since its founding in 1936. ​The mural, created by Miami-based artist Reginald O'Neal and curated by Donnamarie Baptiste, features QR codes containing oral history videos about Miami’s Black Longshoremen and Overtown. On view at ILA Local 1416 Union Hall, 816 NW 2nd Ave, Miami, FL. Ongoing with corresponding website at murals.miamimocaad.org.

OVERtown: Our Family Tree is part of Veo Veo, I See I See, Mwen Wè Mwen Wè, an interactive public art project exploring Overtown through visual art, storytelling and technology commissioned by Miami MoCAAD and curated by Donnamarie Baptiste. The mural, created by Miami-based artist Anthony “Mojo” Reed II, honors Miami's first Black judge, the late Judge Lawson E. Thomas, who as a lawyer fought fearlessly for civil rights of Black people during the 1940s and 1950s Jim Crow era. Judge Thomas owned the Overtown law office building where the mural incorporates QR codes containing oral history videos about Judge Thomas and Overtown. On view at 1021 NW Second Ave, Miami, FL. Ongoing with corresponding website at murals.miamimocaad.org.

“Strange Fruits'', curated by Yuneikys Villalonga, presents recent work by Marielle Plaisir, a Miami-based multimedia artist. Working in paint, drawing, sculpture, fashion and performance, Plaisir creates intense visual experiences exploring her French-Caribbean heritage against the backdrop of Postcolonialism. In April 2024, Plaisir will present new digital artworks and a multimedia piece that were commissioned by the Museum of Contemporary Art of the African Diaspora (Miami MoCAAD) as a recipient of a 2022 New Work Award from the Knight Foundation. Coral Gables Museum, 285 Aragon Avenue Coral Gables, FL. Runs through April 28, 2024.

Chakaia Booker: Surface Pressure celebrates work of multimedia artist Chakaia Booker who is renowned for her expert manipulation of unconventional materials. This exhibit presents her signature sculptures composed of recycled tires alongside innovative creations in printmaking and painting. Sarasota Art Museum Ringling College Museum Campus, 1001 South Tamiami Trail Sarasota, FL 34236. Runs through Oct. 29, 2023.

Lonnie Holley: If You Really Knew, provides an intimate look at Holley’s life and explores a decades-long career in his first major debut in the Southern United States. The exhibition showcases 70 works, including foundational “sandstone” sculptures, new works on paper, and quilt paintings. Holley’s influence on Southern art is highlighted throughout the exhibition, featuring works from a cohort of artists he championed, including Miami native Purvis Young, Thornton Dial, Mary T. Smith, and Hawkins Bowling.

REACH, a collaborative installation, by contemporary artists Hank Willis Thomas and Coby Kennedy, featuring two monumental hands reaching out to each other, has been installed at O’Hare International Airport. The installation is above escalators in the airport’s Multi-Modal Facility. The sculptural commission and installation was organized by the Chicago Department of Aviation and Department of Cultural Affairs and Special Events, and is part of the Expo Chicago fair's program for large-scale and site-specific works.

At The Precipice is an exhibit that explores the use of color, tactility, material, and data. The artwork explores how it feels to inhabit an irreversibly damaged planet facing a precarious future and considers the purpose of art and design in understanding how our collective trajectory must rapidly change direction. This exhibit features more than 10 artists. Design Museum of Chicago 72 East Randolph Street Chicago, IL, 60601 United States. Runs through Oct. 30, 2023.

Chicago-born architect Germane Barnes explores the connections between identity and the built environment—using research, design, and activism to mine the social and political agency of architecture and uncover the spatial histories and futures of Black self-determination.

With the understanding that Black girlhood is often fraught with societal hardships that can interfere with health and well-being, Sit A Spell features the work of six Black women artists who were paired with African American girls between the ages of 10 and 18. Their resulting portraits simultaneously evoke “movement and rest, contemplation and action.” The exhibition reminds us that while stillness and motion initially seem to be at odds, they actually sustain each other. 4613 Newhall St, Philadelphia, PA 19144. Ongoing.

The African American Museum in Philadelphia (AAMP) and the Pennsylvania Academy of the Fine Arts (PAFA) collaborated to present Rising Sun: Artists in an Uncertain America, a multi-venue exhibition of new works examining: “Is the sun rising or setting on the experiment of American democracy?” Installations by 20 artists explore equality, free speech, and other tenets of democracy. Artists at AAMPinclude John Akomfram, Mark Gibson, Dread Scott, Renee Stout, Deborah Wilis and more. Concurrently at The African American Museum in Philadelphia, 701 Arch Street Philadelphia, PA & Pennsylvania Academy of the Fine Arts, 118-128 N Broad Street Philadelphia, PA. Runs through Oct. 8, 2023.

"Entryways: Nontsikelelo Mutiti" is the inaugural project for a new series that commissions artists to activate the façade of ICA’s building in partnership with Maharam, North America’s leading creator of textiles for commercial and residential interiors. For the 2024 edition, ICA invited Nontsikelelo Mutiti, a Zimbabwean-born visual artist and educator, to reimagine the windows. In the resulting work, Mutiti combined African hair braiding patterns and hair clips with symbols often found in ironwork. Mutiti is deeply interested in the cultures and communities that are formed in hair salons globally, and often incorporates braids in her work as markers of identity, migration, and culture. Similarly, the use of symbols in ironwork, particularly Adinkra symbols from West Africa, are present visually almost everywhere these decorative architectural features are found. These forms were first created by enslaved blacksmiths from West Africa and have become a shared diasporic visual language. The designs are now found across the African diaspora including in Philadelphia and the broader United States. In the same way that hair braiders continue the practice of these braiding systems, ironworkers, and now restoration workers, ensure the survival and persistence of these symbols as important cultural markers." -

Artist Kerry James Marshall designed "The Now and Forever Windows" stained-glass windows showing Black Americans holding protest signs bearing the words “Fairness” and “No foul play”, replacing stained-glass windows honoring Confederate Generals Robert E. Lee and Stonewall Jackson after a gunman shot and killed nine Black worshippers in Emanuel AME Church (“Mother Emanuel '') in Charleston, SC in 2015. Washington National Cathedral, 3101 Wisconsin Ave. NW, Washington, DC. Permanent installation.

"Reckoning: Protest. Defiance. Resilience" explores the Black Lives Matter Movement, social protests and the struggle for equality. The exhibition includes images and artwork by Jean-Michel Basquiat, Sheila Pree Bright, Bisa Butler, Shaun Leonardo, David Hammons and more. Bisa Butler’s, I Go To Prepare A Place For You presents a quilt of multiple bright-colored cotton, silk and velvet fabrics depicting Harriett Tubman seated against a dark floral background majestically gazing down at the viewer. The exhibit offers an augmented-reality experience allowing visitors to use their mobile devices to connect the artwork with other objects and themes in the museum to create an interactive, immersive, digital experience. National Museum of African American History and Culture, 1400 Constitution Ave, NW, Washington, DC Ongoing.

Called to Create: Black Artists of the American South features: Thornton Dial, James “Son Ford” Thomas, Lonnie Holley, Mary T. Smith, Purvis Young, and other artists in the South who worked with little recognition, often using recycled materials as their art supplies and yards, porches, or boarded-up storefronts as their galleries. This exhibit brings their works to the public as prominent focal points within the National Gallery of Art. The National Gallery of Art West Building 6th St and Constitution Ave NW.​ Runs through Dec. 31, 2023.

"William H. Johnson (1901–1970) painted his last body of work, the Fighters for Freedom series, in the mid-1940s as a tribute to African American activists, scientists, teachers and performers as well as international leaders working to bring peace to the world. This landmark exhibition brings together—for the first time since 1946—34 paintings featured in the series. The exhibition illuminates the extraordinary life and contributions of Johnson, an artist associated with the Harlem Renaissance but whose practice spanned several continents, as well as the contributions of historical figures he depicted. Some of his Fighters—Marian Anderson, George Washington Carver, Mohandas Gandhi, and Harriet Tubman—are familiar figures; others—Nannie Helen Burroughs and William Grant Still, among them—are less well-known individuals whose achievements have been eclipsed over time. Johnson celebrates their accomplishments even as he acknowledges the realities of racism, oppression, and sometimes violence they faced and overcame. Johnson clues viewers to significant episodes in the Fighters lives by punctuating each portrait with tiny buildings, flags, and vignettes that give insight into their stories. Using a colorful palette to create evocative scenes and craft important narratives, he suggests that the pursuit of freedom is an ongoing, interconnected struggle, with moments of both triumph and tragedy."

"Basquiat × Banksy marks the first time that artwork by either artist has been presented at the nation’s museum of modern and contemporary art. The exhibition also includes 20 small works on paper and wood from the collection of Larry Warsh that were made by Basquiat between 1979 and 1985 and demonstrate the artist’s deep familiarity with art history, his use of language, and his signature motifs, such as skulls and crowns. The film Downtown 81 (shot in 1980–1981 and released in 2000), a send-up of the denizens of Manhattan’s ’80s avant-garde that stars Basquiat as a struggling artist named “Jean,” will also be on view." -Press release

LaToya M. Hobbs: It’s Time presents the series Carving Out Time, a life-size suite of woodcuts by Arkansas-born and Baltimore-based artist LaToya M. Hobbs. Unfolding over five scenes, the work depicts one day in Hobbs’s life with her husband, visual artist Ariston Jacks, and their two children. Hobbs shares the labor and intimacy of her private life in these prints, centering the negotiations she brokers daily to balance her manifold responsibilities—as a wife, mother, educator, and artist. The series is also a powerful statement about her influences and self-fashioning as an artist: references to paintings, sculptures, and prints by prominent artists such as Elizabeth Catlett, Alma Thomas, Valerie Maynard, and Kerry James Marshall appear throughout. Carving Out Time (2020–21) is the largest expression within Hobbs’s ongoing Salt of the Earth project, which she characterizes as “the personification of Black women as salt in relation to their role as preservers of family, culture and community.” A contemplation of nuanced concepts of time and labor, the work offers an affecting visual statement that is at once deeply personal and universal. LaToya M. Hobbs: It’s Time is the inaugural presentation of the full suite of prints and provides a unique opportunity to view the drawings that the artist made in preparation for the project, which she generously lent to the exhibition for their first public display. Hobbs received a B.A. in painting from the University of Arkansas at Little Rock and an M.F.A. in printmaking from Purdue University. She is a co-founder of Black Women of Print and recently completed residencies at the Penland School of Craft and the Women’s Studio Workshop. Hobbs won the Janet and Walter Sondheim Artscape Prize in 2020 and was a finalist for the Queen Sonja Print Award in 2022. She teaches at the Maryland Institute College of Art. Organized by Elizabeth M. Rudy, Carl A. Weyerhaeuser Curator of Prints, Harvard Art Museums, with Ana Barros (Manager of Campus Partnerships), Jessica Ficken (Assistant Curator of the Collection, Modern and Contemporary Art), Tayana Fincher (Manager of Public Programs), Erica Lawton (Administrative Coordinator, Director’s Office), Sarah Lieberman (Cunningham Fellow in Academic and Public Programs), Tara Metal (Digital Content Manager), Marvin Smith (Staff Assistant, Modern and Contemporary Art), and Jarvis Subia (Manager of Community Partnerships). Research contributions by Nora Rosengarten (Ph.D. Candidate, History of Art and Architecture, Harvard University). Special thanks to these students: Muriel Dol ’24, Imani Fonfield ’25, Eden Getahun ’25, Jai Gillard ’25, Jadyn Matthews ’24, Mariah Norman ’25, Ogechi Obi ’26, Anya Sesay ’25, Ebony Smith ’24, and Maryann Uduebo ’26; and thanks to Maya Alvarez-Harmon ’25, Nneka Arinzeh ’25, and the Association of Black Harvard Women for collaborating with the Harvard Art Museums on this project. Support for LaToya M. Hobbs: It’s Time is provided by the Robert M. Light Print Department Fund, the Melvin R. Seiden and Janine Luke Fund for Publications and Exhibitions, and the generous support of the Harvard Art Museums Prints Committee. Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.

Grounded in a Black lesbian gaze, Boston Poet Laureate Porsha Olayiwola’s Twerk Villanelle (2019) engages visitors textually in the space. Video installations by Shanequa Gay, Le’Andra LeSeur, and C. Rose Smith continue, each evaluating the different experiences of Black womxn. Gay’s The Crooked Room (2018) combines distorted video and photography to convey the unsettling and unifying state of living in the United States as a Black women. In White Out (2018), LeSeur examines the effect of navigating a world dominated by predominantly white spaces on Black queer womxn like herself. Influenced by contemporary fashion, queer theory and 19th-century photography, Smith’s Untitled no. 000 (2020) considers how a white cotton dress can signify hierarchy, ethics, and control.

The National Art Gallery of The Bahamas is proud to present Resurgent, Kermit Miller’s solo debut of artwork that captures the movement and expression of Junkanoo and Bahamian daily life.  With an astute depiction of each subject’s emotion, Miller’s practice is a snapshot of the colorful ways Bahamian people express their joy and relate to one another.  Miller’s use of various junkanoo subjects is a clever way of portraying these heightened emotions; for instance, in Junkanoo Roar (2023), Miller depicts a rusher mid-scream, capturing the familiar extasy that locals feel when experiencing the parade firsthand.  Miller’s practice is also inspired by Bahamian master artist Brent Malone, who also depicted Junkanoo rushers throughout his career. Like Malone, Miller’s focus on brushwork and technique is very important to his practice, especially because he is re-entering the field after a 22-year hiatus.   This small exhibition is a display of Miller’s first experiments after getting back into the practice of painting.  Miller’s practice resurged after the death of his daughter, Ebony Miller, whom he artistically mentored. For 22 years, he eschewed his own artistic career in favor of nurturing her talent.  Now that she has passed, practicing art helps him feel closer to his daughter again, and as he relearns the medium, Miller’s focus on technique and expression is appropriate for an emerging artist in the genre.  This exhibition is curated by Richardo Barrett, Exhibitions & Collections Care Associate, and Letitia Pratt, Associate Curator. 

"SUMMER SUMMER is a group exhibition focused on abstract figuration within three distinctive Caribbean practices. The exhibiting artists are Leonardo Benzant (Dominican-American), Ronald Cyrille (Guadeloupe), and Steven Schmid (The Bahamas). SUMMER SUMMER focuses on the artists’ unfettered yet encompassed figurative approach in their respective mediums." -Press Release Excerpt

"...In honor of our 200th anniversary this fall, a transformative reinstallation of the American Art galleries will reorient the ways that the Brooklyn Museum exhibits—and audiences rediscover—this acclaimed collection. A kaleidoscopic display will offer paradigm-shifting interactions with millennia of art. Black feminist and BIPOC perspectives act as through lines in this vast presentation of more than 400 works. In each of eight galleries, you’ll find a thought-provoking framework inspired by the abundant contributions of historically marginalized cultural producers. Every space is a distinct encounter with the collection, from the bloom-covered walls in “To Give Flowers” to the contemplative respite of “A Quiet Place,” to the chance to strut the runway before an audience of seated portraits in “Several Seats.”"

AMP, division of a21 based in Miami, is a creative events firm that designs, builds, promotes and produces important cultural experiences worldwide. AMP’s current portfolio contains four art fairs including Art on Paper, San Francisco Art Fair, Seattle Art Fair, and the newly launched Atlanta Art Fair.

"Hair is an integral part of us. It is personal and intimate while also being one of the most visible ways we express our identity to the world. We use it to reinvent or disguise ourselves. We style our hair to make a statement: to follow trends and conform, or to forge our own path in defiance of social norms. But hair is more than symbolic—it is a tangible manifestation of our DNA, tying us to our ancestors. We keep hair as a token of love and remembrance, honoring a child’s first haircut or a loved one who has passed. Its significance on both a personal and societal level has made hair a powerful focus of art throughout human history. We realize it’s impossible for one exhibition to fully tell the story of hair, but the Wadsworth Atheneum’s exhibition Styling Identities: Hair’s Tangled Histories aims to tell a story about what hair means to us—to our individual staff, to our museum, and to our Hartford communities. Organized by a team of curators passionate about hair, drawn from across levels and departments at the museum, this exhibition is about us as much as it is about hair. Hair is community. Hair is power. Hair is us."

"The Underground Railroad was not limited to land, but included a network of maritime routes along the Atlantic seaboard. This groundbreaking exhibit uncovers the incredible stories of those who sought freedom by sea, shedding light on the maritime routes that played a crucial role in the Underground Railroad, including the waters around Martha’s Vineyard. Based on research by Dr. Timothy Walker and a previous exhibit at the New Bedford Whaling Museum, Sailing to Freedom broadens our understanding of the daring escapes by sea that were instrumental in the quest for liberation." - Exhibition Excerpt by MV Museum.

"For the 2024 Biennial, artists Saj Issa, Basil Kincaid, and Ronald Young have proposed exhibitions that involve ceramics, paintings, video, textiles, and sculptural assemblage. The three award winners were unanimously chosen in summer 2023 by a distinguished panel of independent jurors: Rita Gonzalez, Terri and Michael Smooke Curator and Department Head of Contemporary Art, Los Angeles County Museum of Art; Jamillah James, Manilow Senior Curator at the Museum of Contemporary Art Chicago; and Caroline Kent, a Chicago-based artist and Assistant Professor of Painting at the Weinberg College of Arts and Sciences at Northwestern University. The jurors made the selection after visiting the studios of ten semifinalist artists who were chosen from a pool of 96 applicants."

This exhibition highlights a defining aspect of Babirye’s artistic practice: sculptures that incorporate the visual traits of African masks, merging the traditional with the contemporary. Babirye crafts with metal, ceramics, and hand-carved wood, adding rubber, nails, and other found objects to create contrasting textures. While rooted in the ruling kingdoms of present-day Uganda, Babirye’s artwork goes beyond historical representation. Instead, it weaves personal history and resilience into ambitious sculptures that create space for queer joy and liberation. Emerging from the artist’s own experiences of struggle, Babirye’s art transcends the personal. Through her experiments with form and materials, she is able to convey powerful emotions, provoke thought, and push the boundaries of creative expression.

"Since early childhood Corinne Smith, who also goes by Critty Smitty, has been sensitive to the unknown. Suffering from night terrors, sleep paralysis and, sometimes, a strange difficulty in distinguishing between what is real and what isn’t, Smith is of the notion that maybe it all lies somewhere in between. With the use of Silene Capensis root, also known as the African dream root, the Oakland-based artist has been practicing guided meditation and dream re-entry to access powerful dreams that provide knowledge and symbolism to establish further connection to the divine ancestral lineage and to promote healing. ‍"

A Superlative Palette: Contemporary Black Women Artists, curated by Dexter Wimberly, showcases the groundbreaking work of twelve contemporary Black women artists from across the globe. These artists have redefined artistic expression, challenging conventional narratives and advocating for social justice and empowerment. Despite historical marginalization, they have persevered, offering diverse perspectives, mediums, and styles that enrich the cultural landscape. Harvey B. Gantt Center for African-American Arts + Culture at Levine Center for the Arts 551 South Tryon Street Charlotte, NC 28202. Runs through July 28, 2024.

The African Origin of Civilization exhibition features collections from west and central Africa alongside art from ancient Egypt for the first time in The Met’s history. The exhibit allows introspection of different African cultures and eras while providing a rare opportunity to appreciate the extraordinary creativity of the continent across five millennia. The Met Fifth Avenue 136, 1000 5th Ave, New York, NY.

Nick Cave’s glass mosaics in his installation, Everyone, at the 42nd St shuttle in New York capture motions of his “Soundsuits”. Colorful “figures on the wall are depicted leaping and twirling in mosaic Soundsuits”—Cave’s full body costumes that make noise when they move. “ ​​It’s almost like looking at a film strip,” Cave said. “As you’re moving down that from left to right, you see it in motion.” MTA New York, 42nd St Subway Connector. Permanent installation

The groundbreaking exhibition The Harlem Renaissance and Transatlantic Modernism explores the comprehensive and far-reaching ways in which Black artists portrayed everyday modern life. Through some 160 works of painting, sculpture, photography, film, and ephemera, explore the new Black cities that took shape in the 1920s–40s in New York City’s Harlem and nationwide in the early decades of the Great Migration, when millions of African Americans began to move away from the segregated rural South. The first art museum survey of the subject in New York City since 1987, the exhibition establishes the Harlem Renaissance and its radically new development of the modern Black subject as central to the development of international modern art. Featured artists include Charles Alston, Aaron Douglas, Meta Warrick Fuller, William H. Johnson, Archibald Motley, Winold Reiss, Augusta Savage, James Van Der Zee, and Laura Wheeler Waring. These artists are shown in direct juxtaposition with portrayals of international African diasporan subjects by European counterparts ranging from Henri Matisse, Edvard Munch, and Pablo Picasso to Germaine Casse, Jacob Epstein, and Ronald Moody. A significant percentage of the paintings, sculpture, and works on paper on view in the exhibition come from the extensive collections of Historically Black Colleges and Universities (HBCUs), including Clark Atlanta University Art Museum, Fisk University Galleries, Hampton University Art Museum, and Howard University Gallery of Art. Other major lenders include the Smithsonian American Art Museum and the National Portrait Gallery, with pending loans from the Schomburg Center for Research in Black Culture. The exhibition includes loans from significant private collections and major European

The Black identity is inherently improvisational, disrupting oppressive structures and often facing violence as a consequence. However, our innate resilience enables us to dream and envision futures that embrace all identities regardless of their expression. "Flaunt: Being the Dream" is a dynamic, multimedia group exhibition curated by Zola-Jourdan Savage with a soundscape by Run P., that explores the Black Transgender, Non-Binary, and Gender-Nonconforming (TGNC) experience to unpack contemporary perceptions of identity via the expression of gender and sex. In this presentation, universal themes including social roles and the way we inhabit them, cultural cues, power structures, survival, pleasure, and their intersection with race, transcend prejudices to represent the purest form of self-realization. In this context, the ‘performance’ refers to authenticity—being true to oneself. It is a misconception that individuals on the TGNC journey are being disingenuous and by claiming space for themselves pose a threat to the cisgender community. These preconceived notions often lead to senseless violence, social exclusion, and other forms of discrimination. To reaffirm the value of Black TGNC lives and to celebrate the myriad ways Black people connect performance to modes of expression i.e. how we show up, 20 Transgender, Non-Binary, Gender-Nonconforming and Queer artists contribute to a necessary dialogue that informs and expands the narrative.

The Broad is pleased to announce the launch of a new touring special exhibition "Mickalene Thomas: All About Love", running through September 29, 2024. Co-organized by the Hayward Gallery, London, and The Broad, Los Angeles, and in partnership with the Barnes Foundation, Philadelphia, "Mickalene Thomas: All About Love "will be the first major international tour of this pioneering artist’s work. Marking its debut at The Broad with over 80 works made by the artist over the last 20 years, the exhibition highlights how Mickalene Thomas has mastered and innovated within several disciplines, from mixed-media painting and collage to installation and photography. The exhibition shares its title and several of its themes with the pivotal text by feminist author bell hooks, in which love is an active process rooted in healing, carving a path away from domination and towards collective liberation. “Mickalene Thomas’s visionary artistic practice presents an unapologetic focus on Black female representation, amplifying portraiture’s capacity to capture authentic lived experience and relationships,” said Joanne Heyler, Founding Director of The Broad. “Thomas’s work, while pushing conventional boundaries of technique and material, touches all aspects of culture and society, from notions of beauty to sexuality and politics, powerfully bringing visibility to those who have historically been excluded and marginalized in art history.” Born in 1971 in Camden, New Jersey, Thomas completed her MFA from the Yale University School of Art in 2002 and a residency at the Studio Museum in Harlem in 2003. Soon after she became well known for her large-scale acrylic paintings of Black women in states of leisure and repose using rhinestones, a central material in her practice that symbolizes the complexities of femininity. Depicting women with confident and assured expressions, the subjects of her works are often seen in domestic interiors from Black America, claiming the agency of womanhood while deconstructing the art historical canon. Similarly, Thomas’s photographs, collages, and figurative paintings often re-stage scenes from 19th century French painters such as Henri Matisse and Édouard Manet, pushing back against the subjugation and oppressive narratives upheld by Western archives, cultural institutions, and representation systems. “In Mickalene Thomas’s hands, collage becomes a way of thinking about love in a serious way,” said Ed Schad, Curator at The Broad. “As Thomas keeps the essence of individuals alive in her work—as the individuals are re-imagined and remade, configured from different moods and different circumstances over many years of trust and commitment—it is a love ethic she is after.” The Broad’s debut of Mickalene Thomas: All About Love will reflect some of the artist’s earliest inquiries into visual culture, sexuality, memory, and erotica and move into the present. On view will be the early photographic triptych, Lounging, Standing, Looking (2003), a piece which depicts the artist’s own mother, exploring kinship and care. These modes of intimate relations come to inform work such as Portrait of Maya No. 10 (2017) from the Broad collection. This acrylic and rhinestone work embodies Thomas’s signature ability to apply several layers of material and symbolic meaning into a single surface. At eight feet tall, the subject is empowered, sparkled, and poised, commanding her outward gaze. The exhibition is largely populated by works at this immersive and ambitious scale, such as the twelve-foot wide I’m Feelin Good (2014), which also uses rhinestone elements. Unifying these larger-than-life subjects together in the museum’s galleries will envelop viewers into the bold and dynamic universe the artist has created, where steadfast love overcomes political strife. In addition to towering wall works, video collages such as Angelitos Negros (2016) will also be presented. This work immortalizes the late singer and actress Eartha Kitt, who sings about the absence of Black angels in art history, reflecting a core theme within the exhibition. Through her queries into pop culture and mass media, Thomas offers a reverberating demand for Black women to be seen and understood, and for viewers to become what hooks calls “practitioners of love.” The themes of the exhibition will extend into a full slate of associated programming developed in collaboration with the artist, including a summer concert series and in-gallery programs centering women and Black and queer communities. Additional details will be announced in the coming months.

Paula Wilson: Toward the Sky’s Back Door presents nearly two decades of Paula Wilson’s paintings, sculptures, prints, collages, and videos, with different media frequently intermixed in a single work. Breaking down perceived boundaries to connect global and local narratives, the work explores subjects as wide-ranging as the moth that pollinates Yucca plants, ancient Greek vases, West African D’mba, and modern technologies. Using the same techniques and styles to make art for viewing on the gallery wall as for the rugs she walks on and clothes she wears, Wilson challenges the separations between art and everyday living. Often biographically oriented, her work investigates the polarities of human life, including her own identity as a Black biracial artist and her experiences living in both major metropolises and the small desert railroad town of Carrizozo, New Mexico. Wilson’s work has been exhibited throughout the United States and internationally and is in the permanent collections of The Studio Museum in Harlem, the Albuquerque Museum, the New York Public Library, The Fabric Workshop and Museum, the Yale University Art Gallery, and the Tang Teaching Museum, among others. Born in Chicago, Wilson earned her BFA from Washington University in St. Louis and her MFA from Columbia University in New York. She is the co-founder of the artist-run organizations Carrizozo Artist-in-Residency and MoMAZoZo. The exhibition title comes from a poem by Robin Coste Lewis, “Let Me Live in a House by the Side of the Road and Be a Friend to Man.” Paula Wilson: Toward the Sky’s Back Door is organized by The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College and curated by Tang Associate Curator Rebecca McNamara in collaboration with the artist. The exhibition and accompanying catalogue are supported by Friends of the Tang. The CAAM presentation is organized by Isabelle Lutterodt, Deputy Director, CAAM.

Finding Soft Ground, Fazlalizadeh’s first exhibition at Art + Practice (A+P), considers the conditions, precarity, and imaginative determination of safety for Black women. Utilizing the three galleries of A+P, Fazlalizadeh transforms each space into distinct installations examining the street, the home, and the natural world in relation to terror and refuge. The works in Finding Soft Ground—which include wheat-pasted prints, oil paintings, drawings, a single-channel film, and site-specific materials—are rooted in Fazlalizadeh’s Black feminist theory. Finding Soft Ground is presented in tandem with Speaking To Falling Seeds, the artist’s installation of monumental portraits of Black Los Angeles women wheat pasted onto the atrium walls of the California African American Museum (CAAM). Both exhibitions draw upon photographs and conversations that took place in the spring of 2023 while Fazlalizadeh was living in Los Angeles. The portraits ask how safety is presumed, built, and felt for the city’s Black residents. This exhibition is curated by Essence Harden, Visual Arts Curator, CAAM, and is co-presented by CAAM and A+P as part of CAAM at A+P, a five-year collaboration.

"Drawing from traditional ceremonies, physical typographies, and legacies of the Xhosa people from the Eastern Cape Province of South Africa, Mbunyuza creates large-scale figural sculptures and objects that document and honor the rituals and land associated with his native people. The title of the exhibition recalls an Intlombe gathering in which divine healers come together in a home for a variety of causes, from social to spiritual. These gatherings often incorporate dancing, singing, and playing drums as a way of invoking the Xhosa ancestors. As a grouping, the works on view connect the artist back to his home through the use of referential forms, color, material, and installation." Excerpt from Press Release.

"signifying the impossible song explores the material culture of objects and the protected knowledges they hold. Encompassing mixed-media artworks, found objects, assemblage, photography, sculpture and painting, the exhibition points to the collective unravelling and structural failings of political systems. There are multiple forces in effect – integration and disintegration, defiance and displacement – the cyclical rhythm suggesting the human project as an ongoing process of fabrication and refabrication." - Excerpt of Press Release

"As Houston’s mother ward, Freedmen’s Town is a community first built by newly freed Black people, who formed a vibrant community anchored by handmade and laid brick streets. Those same brick streets today serve as the enduring reminder of the possibility of Black places. The Gift and The Renege points to the historical battle the residents of Freedmen’s Town have waged to protect their history and heritage. The exhibition uplifts the radical imagination necessary to realize the historic bricks' full preservation and sacred return to their rightful home in the streets of Freedmen’s Town. Gates is deeply committed to supporting the preservation and growth of overlooked Black neighborhoods. His work takes the form of a kind of urban alchemy that both reframes longstanding tensions between municipal policy and a community’s desire for self-determination and offers a powerful reminder of the necessity of persistence and creativity." - Extended Description of the Exhibition

This retrospective, Michael Richards: Are You Down?, showcases visionary artworks, including sculptures, drawings, installations, and video work. Of Jamaican and Costa Rican lineage, Richards’s artwork gestures toward both repression and reprieve from social injustices and the simultaneous possibilities of uplift and downfall as well as the legacy of the Tuskegee Airmen, The Bronx Museum, 1040 Grand Concourse The Bronx, NY. Runs through Jan. 7, 2024.