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18 hands, held high, found their Grace— But you didn’t hear a Sound
I remember being alone in my apartment the morning of Pastor Clementa Pinckney’s funeral, nine days after his murder in Charleston. A sea of Black folks, mourning, held each other in the wake, and maybe against it too. At the head of the congregation, Barack Obama delivered his eulogy for the Pastor, and I, in a way not unlike the people in the room I imagine, felt cradled as the tune of Amazing Grace leapt from the President’s mouth.
One by one, the President chanted the names of Dylann Roof’s nine victims.
Clementa Pinckney found that Grace.
Myra Thompson found that Grace.
Daniel Simmons Sr. found that Grace.
And so forth. It made me wonder just what this Grace they found was, and who was the arbiter of receiving it. And I thought of all my niggas, and the niggas that looked so much like me and my niggas, and if we would ever find Grace of our own.
Ten Toes Down
Curated by myself, as part of the Museum of Contemporary Photography's Video Playlist series in response to contemporary Afrofuturism. The films selected for this screening, though fantastic in nature and design, find their Black feet planted firmly on the ground. They are films that realize the magic within the ordinary, and the transcendence that can come from the actual, and from the intimacy between us.
Ten Toes Down poster, featuring film still from Shala Heather Miller
The Beginning of never ending
December 2nd, 2017 - December 23rd, 2017
Curated by artist Tosha Stimage, The Beginning Of Never Ending is the inaugural exhibition for the Black Infinity, a collective of artists brought together by the curator.
“Pearl” is an exhibition of works made alongside my Mother, Sandra. When my Father left it was a band of women that raised me in spite of him. They were my light, while memories of him, and those dreams too, stood as the shadow beneath my feet, stretching out from under the sun to grip at my neck.
GRAD PARTY is a solo exhibition that questions and examines the benefits and place of higher education for black people. If the Master's tools cannot dismantle the Master's home, what possible benefits can be gleamed from the Master's institutions?
(Documentation courtesy of Tom Hoying of Skylab Gallery)