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DTSTART;VALUE=DATE:20240220
DTEND;VALUE=DATE:20240720
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CREATED:20240109T235134Z
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SUMMARY:Blues People
DESCRIPTION:“Blues People has always meant a great deal to me. It was a dramatic self-confirmation\, as a personal intellectual and artistic ‘presence\,’ but also as the expression of a set of ideas and measures that I have carried with me for many years. Most\, even until today.”  —Amiri Baraka \nInspired by the 60th anniversary of “Blues People: Negro Music in White America”\,—the acclaimed book by writer\, poet\, political activist and Newark native LeRoi Jones\, who later renamed himself Amiri Baraka—visual artists Derrick Adams\, Adama Delphine Fawundu\, Adebunmi Gbadebo\, Cesar Melgar\, and Accra Shepp have reimagined pivotal works of theirs to create five newly commissioned art installations at Express Newark that explore what it means to be a “Blues People” in the twenty-first century.  \nAccra Shepp’s “Occupying Wall Street” and “Covid Journals” feature black-and-white portraits of protesters during New York City’s Occupy Wall Street movement of 2011 and the global Black Lives Matter uprising of 2020. Installed on the main floor of the building and incorporating Baraka’s poetry and the music of Shepp’s father\, the avant-garde jazz musician Archie Shepp—a good friend of Baraka’s—Shepp’s work dissolves the boundaries between the individual and the collective\, reminding us that those who participated in the demonstrations played an essential role in the safeguarding of American democracy and achieving radical forms of justice. \nIn the Window Gallery\, multimedia artist Adebunmi Gbadebo features two new handmade\, site-specific paper textiles inspired by her work “At the Bottom of the Atlantic Ocean There is a Railroad Made of Human Bones.” Taking its title from a line in Baraka’s poem “Wise\, why’s\, y’s\,” her pieces are made from Black hair\, cotton\, and indigo dye and meditate on labor\, land\, and familial legacy at True Blue Plantation\, the rice and indigo plantation where her ancestors were enslaved in Fort Motte\, South Carolina.  \nAcross from these textiles\, in the Box Gallery\, photographer and visual artist Adama Delphine Fawundu revisits her experimental short film\, “Who We Be”\, which explicitly takes up Baraka’s emphasis on Black music by exploring hip-hop\, social language\, and activism in Freetown\, Sierra Leone\, in West Africa. Serving as a backdrop to the film\, “Who We Be II” is a wallpaper designed using Fawundu’s technique\, kpoto patchwok\, in which she blends photographic transfers of Black crowds throughout the African diaspora\, further expanding the musically immersive experience of her installation. In the Mende and Krío cultures of Sierra Leone\, the term kpoto loosely translates to “gathering.”  \nIn the Paul Robeson Gallery\, multidisciplinary artist Derrick Adams plays with the real estate term protesting gentrification\, by reimagining “The Holdout\,” a house-like social sculpture with a curated radio station that he initially exhibited at Alijira: A Center for Contemporary Art in Newark in 2015. Experimenting with the format of a pirate radio station and live guest DJ sets\, Adams highlights conversations with renowned artists and local activists about displacement\, economic development\, and land ownership. \nSurrounding Adams’s sculpture is street photographer Cesar Melgar’s “Newark Master Plan\,” a debut series of black-and-white images of Newark properties from 2019 to 2022 that bear “Notice of Public Hearing on Proposed Development” banners.  Exhibited alongside his photos from his 2018 “Street Views” series\, set in the Ironbound and Downtown Newark\, Melgar’s romantic images remind us of the vitality and vibrancy of Newark communities and the increasing threats posed by higher living costs\, corporate home purchases\, and the enduring wealth gap. \nThe “Sounds of Newark” installation displays five works from Express Newark’s Community Media Center residents Laïssa C. Alexia\, Kendra Brandon\, Gary Campbell\, Celli Pitt\, and Chris Simmons on the fourth floor. Considering silence as a marker of gentrification\, the installation presents a soundscape in which these five artists remember the value of their community as the city changes around them. Working with artist Jamilah Malika Abu-Bakare\, these CMC residents use sound as a sonic space of refusal and a creative way to rescue an archive. Taken together\, the installation asks: What sounds shall we save? \n“Blues People” is curated by Alliyah Allen\, Express Newark’s associate curator and program coordinator. Additional support is provided by executive director Salamishah Tillet; creative director Nick Kline; Anonda Bell\, director of the Paul Robeson Galleries; Brooke Finister\, program coordinator of New Arts Justice; and Anthony Alvarez\, assistant director of Shine Portrait Studio and coordinator of the Free School at Express Newark. \nRutgers University-Newark\, the Ford Foundation\, the Andy Warhol Foundation\, the HarbourView Equity Foundation\, the Devils Youth Foundation\, and Duggal Visual Solutions provide generous funding for this exhibition. Additional support is from New Arts Justice\, Shine Portrait Studio\, Paul Robeson Galleries\, and Harmony Lab.
URL:https://expressnewark.org/event/blues-people/
LOCATION:Express Newark\, 54 Halsey Street\, Newark\, NJ\, 07102
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240220
DTEND;VALUE=DATE:20240720
DTSTAMP:20240220T203358Z
CREATED:20240220T201417Z
LAST-MODIFIED:20240220T203358Z
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SUMMARY:Newark Master Plan & Street Views
DESCRIPTION:Newark Master Plan & Street Views\nCesar Melgar\nBorn in Newark\, Cesar Melgar presents twenty-five digital c-prints from his series “Newark Master Plan.” With the black-and-white photographs taken between 2018 and 2022\, Melgar prompts viewers to consider the frequency of Notice of Public Hearing Banners appearing on homes\, commercial spaces\, and landmarks throughout the city. Moving beyond the hyper-individuality associated with the nineteenth-century figure of the flâneur\, Melgar welcomes visitors to walk the streets of Newark with him\, especially by including glimpses of his shadow within these landscape portraits. He describes his practice as “wandering” and by doing so\, offers a deeply romantic vision of Newark as a place steeped in history\, nostalgia\, community\, and contemporaneity. The installation also features a banner Melgar found and repurposed with lost images of a family album and graffiti and asks viewers to reimagine the narratives that should be heard and noticed. \nMelgar’s journey continues in the screening room with fifty-five projected images from his “Street Views” series from 2018 to 2023. The film is separated into two parts—the first\, “Seduced by the Suburbs\,” in which Melgar showcases iconic sites and moments in Newark\, like the Adams Theater or Newark Penn Station\, to show how the allure of renewed development leaves the city broken down and in decay. The second\, “Regeneration for the next generation!” moves the narrative forward\, leaving viewers to consider what remains or is left behind at the cost of urban renewal and gentrification. \nAbout Cesar Melgar\nCesar Melgar was born in Newark\, NJ and raised in the Ironbound section\, a working class neighborhood. This upbringing as a child of first generation immigrants from Colombia and Peru influences his eye as he turns his lens onto his community that has faced environmental injustice\, disinvestment\, and now the force of gentrification. His photos capture the poetic nuances of daily life in a city that is often misunderstood by New Jersey’s suburbs and beyond\, and especially the media. In 2015\, Cesar Melgar was introduced to the world via an interview by the Design Observer\, a prestigious magazine devoted to a range of design topics such as urbanism and social innovation. Cesar has exhibited his work in most of the major galleries and institutions in Newark\, New Jersey. He is a contributing photographer for the International Society of Biourbanism based in Rome\, Italy. His photographs are showcased in his debut photo book\, Street Views\, designed by John Foster in 2018. As of 2019\, he completed his first residency in Artena\, Italy\, immersing himself in the community and making images of its people. In 2020\, he self published a zine containing photos he made of Newark during the height of the Covid-19 pandemic which was included in a New York Times article featuring Newark’s creative community. He was a Scholastic Awards National Art Juror in New York City which highlights the work of talented young photographers. Cesar has also been a guest speaker for multiple colleges. In June 2023\, he spent a month on a residency in France documenting the exodus and emptiness of the rural town of Bourbonne-Les-Bains. His work is in the collection of Rush Arts Philadelphia and Throckmorton Fine Art\,  New York City\, one of the foremost sources for important Latin American Contemporary and Vintage Photography.
URL:https://expressnewark.org/event/newark-master-plan-street-views/
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240220
DTEND;VALUE=DATE:20240720
DTSTAMP:20240310T000613Z
CREATED:20240220T010209Z
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SUMMARY:The Holdout II
DESCRIPTION:The Holdout II\nDerrick Adams\nWith “The Holdout II\,” Adams revisits a social sculpture that he initially debuted at Alijira: A Center for Contemporary Art in Newark in 2015. Now\, using a house-like structure and the format of a pirate radio station\, “The Holdout II” is hosted by Sister From Another Planet (Andrea Rose Clarke\, SFAP) and welcomes creatives and cultural practitioners to engage in conversation about gentrification\, economic development\, and land ownership\, set to the curated sounds of SFAP. \n“Holdout” is a real estate term for an owner of property in a row of acquired buildings who refuses to sell. Adams’s sculpture poetically references individuals within communities united as a wall of resistance and support. The installation and performative work acknowledges what is priceless and important to preserve in one’s own culture. It highlights a value system that appreciates these ideals. \nThe sculpture and custom furniture was designed and created by L. Dawn Designs\, Jahmir Duran Abreu\, Rich Dubois and Ziello Frames. \nListen now to The Holdout II live\, hosted by Sister From Another Planet! \n \n  \nAbout Derrick Adams\nDerrick Adams (b. 1970\, Baltimore\, MD) is a multidisciplinary artist living and working in Brooklyn\, New York. He received his BFA from Pratt University\, New York\, in 1996 and graduated with an MFA from Columbia University\, New York\, in 2003. Adams has held numerous teaching positions and is currently a tenured assistant professor in the School of Visual\, Media and Performing Arts at CUNY Brooklyn College. He also holds an honorary doctorate from Maryland Institute College of Art. Adams celebrates and expands the dialogue around contemporary Black life and culture through scenes of normalcy and perseverance. He has developed an iconography of joy\, leisure\, and the pursuit of happiness within a practice that encompasses paintings\, sculptures\, collages\, performances\, videos\, and public projects. Adams synthesizes representational imagery with planar Cubist geometry to produce multifaceted figures and faces that address the richness of the Black experience. \nIn 2022\, Adams established Charm City Cultural Cultivation\, an organization to support and encourage underserved communities in the city of Baltimore through events conducted by three entities: The Last Resort Artist Retreat\, a residency program that subscribes to the concept of leisure as therapy for the Black creative; The Black Baltimore Digital Database\, a collaborative counter-institutional space for collecting\, storing\, and safekeeping the data of local archival initiatives; and Zora’s Den\, an online community of Black women writers started in January 2017\, which has since expanded into in-person writing workshops\, a writers’ circle\, and a monthly reading series that strive to promote instruction\, support\, and social engagement. \nAdams has been the subject of solo exhibitions at institutions such as The Cleveland Museum of Art\, Cleveland (2022); The Momentary\, Crystal Bridges Museum of American Art\, Bentonville (2021); Hudson River Museum\, Yonkers (2020); and the Museum of Arts and Design\, New York (2018). The artist has mounted public installations commissioned through Art at Amtrak at NYC Penn Station\, New York (2023); MTA Arts & Design at the Nostrand Avenue LIRR Station\, Brooklyn (2020–ongoing); and RxART at NYC Health + Hospitals/Harlem (2019–ongoing). His work has been featured in notable group exhibitions including The Culture: Hip Hop and Contemporary Art in the 21st Century\, Baltimore Museum of Art\, Baltimore (2023); Packaged Black: Derrick Adams & Barbara Earl Thomas\, Henry Art Gallery\, Seattle (2022); Textures: The History and Art of Black Hair\, Kent State University Museum (2021–2022); and Performa\, New York (2015\, 2013\, 2005). His art resides in the collections of The Brooklyn Museum\, The Metropolitan Museum of Art\, New York; The Studio Museum in Harlem; the Whitney Museum of American Art\, New York; the Virginia Museum of Fine Arts\, Richmond; and the Birmingham Museum of Art\, among many others. \nAbout Sister from Another Planet\nAndrea Rose Clarke began building her music library in the 5th grade. Her Guyanese father\, an audiophile and computer programmer\, encouraged her to set up his then state-of-the-art Fisher Tune-o-Matic 500TX stereo system\, which later was conducive in her feeling at ease in settings like a master control room or DJ booth. \nHer journey continued through classical violin study and art school\, which immersed her in the vibrant culture of downtown Manhattan during the 1970s and 80s. A regular in celebrated clubs like Danceteria\, Area and Mudd Club\, and at the Soul Boys and 12 Tribes gatherings in Brooklyn\, her musical horizons expanded across many genres including rare soul\, 70s/80s reggae and golden age hip hop\, African\, new wave\, and rock. \nBy creating Sister From Another Planet (SFAP)\, Andrea found a platform to share her music discoveries. DJing at venues like the World\, MK’s\, Pyramid\, Wetlands\, Madam Rosa’s and Mars\, she later extended her listenership through a 14-year stint producing and hosting a radio show for WBAI 99.5 FM that connected with a diverse audience spanning age\, race and gender. \nCollaborations with icons like Chuck D resulted in the production a second show for WBAI\, “...ANDYOUDONTSTOP!“\, that focused on social commentary and the impact of independent and golden-age hip hop on global culture. \nNotable interviews include such luminaries as Octavia Butler\, Avery Brooks\, Nikki Giovanni\, Gil Scott Heron\, Kanye West\, Nona Hendrix\, and Sananda Maitreya/Terrence Trent D’Arby. \n 
URL:https://expressnewark.org/event/the-holdout/
LOCATION:Express Newark\, 54 Halsey Street\, Newark\, NJ\, 07102
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240220
DTEND;VALUE=DATE:20240720
DTSTAMP:20240220T195457Z
CREATED:20240220T050445Z
LAST-MODIFIED:20240220T195457Z
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SUMMARY:Who We Be
DESCRIPTION:Who We Be\nAdama Delphine Fawundu\nDelphine Fawundu revisits her experimental video “Who We Be\,” which follows performer James “Biggie Flighter” Benjamin Lewis\, through Freetown\, Sierra Leone\, in West Africa. The film becomes a sonic collage blending verses\, instrumentals\, and speeches exploring the African Diaspora’s linguistic diversity. Here\, Fawundu also debuts the wallpaper “Who We Be II\,” which incorporates her kpoto patchwork technique that gathers images to create new patterns and is inspired by the Mende and Krío peoples of Sierra Leone. In “Who We Be II\,” Fawundu uses an image of a large crowd she photographed  at a hip-hop concert on a beach in Ghana and repeats it\, emphasizing points of connectivity and collectivity throughout the Black world. \n  \nAbout Adama Delphine Fawundu\nAdama Delphine Fawundu is a photographer and interdisciplinary artist born in Brooklyn\, NY the ancestral space of the Lenni-Lanape. She is a descendant of the Mende\, Krim\, and Bubi peoples. Her distinct visual language centers around themes of indigenization\, and ancestral memory. Fawundu co-published the critically acclaimed book MFON: Women Photographers of the African Diaspora. \nFawundu’s video portrait “The Undoing” opened at the Smithsonian National Portrait Gallery in 2022 participating in a three-year touring exhibition The Outwit 2022: American Portraiture Today. Fawundu was commissioned by the Park Avenue Armory to participate in the 100 Years | 100 Women Project / The Women’s Suffrage NYC Centennial Consortium (2019–2021). Her public artwork includes a fifty-foot video mural Wata Bodis commissioned by Audible and a seventy-foot mural Courage produced through a collaboration with Newark Bold Women’s Leadership Network and Project for Empty Space. Her solo exhibitions include the Newark Museum of Art\, The Princeton University Museum’s Art@Bainbridge\, Hesse Flatow Gallery\, The Penumbra Foundation\, and The African American Museum in Philadelphia. She has participated in group exhibitions at Fotografiska\, Savvy Contemporary (Berlin)\, The Brooklyn Museum of Art\, Rice University Moody Center for Arts\, The Goodman Gallery (South Africa)\, The Bamako Encounters Biennial of African Photography\, Kunstverein Braunschweig\, California African American Museum\, The Gropius Bau\, Haus Der Kulturen Der Welt\, amongst others. \nHer awards include the 2023 Catchlight Fellowship\, the Anonymous Was A Woman Award\, the New York Foundation for The Arts Photography Fellowship\, and the Rema Hort Mann Artist Grant\, amongst others. She has participated in artist-in-residencies at the Yaddo\, Center for Book Arts\, Project for Empty Space\, The Brandywine Workshop\, The LeRoy Neiman Center for Print Studies at Columbia University\, and the African Artist Foundation in Lagos\, Nigeria. Her works are in the permanent collections of the Brooklyn Museum of Art; Princeton University Museum; Bryn Mawr College; The Petrucci Family Foundation of African American Art\, Asbury\, NJ; The Brooklyn Historical Society; Norton Museum of Art\, Palm Beach; The David C. Driskell Art Collection\, College Park\, MD; and a number of private collections. She is an Assistant Professor of Visual Arts at Columbia University.
URL:https://expressnewark.org/event/who-we-be/
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240220
DTEND;VALUE=DATE:20240720
DTSTAMP:20240220T201154Z
CREATED:20240220T195038Z
LAST-MODIFIED:20240220T201154Z
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SUMMARY:Occupying Wall Street & Covid Journals
DESCRIPTION:Occupying Wall Street & Covid Journals\nAccra Shepp\nWeaved throughout the main floor of Express Newark is Accra Shepp’s “Occupying Wall Street\,” an installation that features nineteen black-and-white portraits from his documenting of New York City’s 2011 Occupy Wall Street movement. Using a large-format view camera\, this was Shepp’s first foray into documentary photography. Here\, he captures a range of individual and collective portraits\, showcasing the movement’s diversity\, intimacy\, and impact. His 4×5 film exposure slows the photo-making process\, informing his audience of the smaller\, detailed moments that work to create and sustain a movement.  \nThe projected thirty-four black-and-white images are from Shepp’s “Covid Journals” series. The series documented the early stages of the pandemic in New York City\, and Shepp redeployed his medium-format camera to photograph the Black Lives Matter activism that resurged during the pandemic. Demanding justice for Breonna Taylor\, George Floyd\, Ahmaud Arbery\, and others lost to police brutality\, Shepp’s large-scale portraits present people wearing or bearing an array of signs\, gestures\, and symbols that remind viewers of the everyday dignity and kaleidoscopic diversity that constitutes Black Lives Matter. \nOn the archival wall\, Shepp interweaves protest portraits of the Black Lives Matter uprisings with pivotal images from the Newark Rebellion of 1967 to bridge the ongoing struggle for racial justice through place and time on a large vinyl display. In addition to that activation\, Shepp made a short film that opens with Hettie Jones—the poet\, writer\, and Jones’s first wife—in conversation with Shepp during the International Center for Photography’s 2017 public program “Radical Conversation: Making America Great.” Emphasizing the art of “starting small\,” Jones considers where movements begin and inspires Shepp to film himself protesting in front of the United States Federal Courthouse with the recording “We Are the Blues” as a sonic backdrop. Composed by Archie Shepp\, the avant-garde jazz saxophonist and Accra Shepp’s father\, the song features poetry by Amiri Baraka\, making this a rare collaboration between these lifelong friends. Here\, Shepp encourages visitors to take a postcard and use “We Are the Blues” as inspiration for their own protest and performance art. \n  \nAbout Accra Shepp\nAccra Shepp is an artist and writer\, based in New York and teaches at the School of Visual Arts. His images have been exhibited worldwide and are in the collections of the Museum of Modern Art\, the Victoria and Albert Museum\, and other institutions. His writing has appeared in The New York Times and the New York Review of Books as well as his artist’s book Atlas (in the collection of the New York Public Library and the Whitney Museum Library)\, and Windbook\, an artist-book installation at the National Library of Luxembourg. His book\, Radical Justice: Lifting Every Voice was published in 2022 by Convoke. Most recently he is the recipient of the Cullman Scholars Fellowship from the New York Public Library and additionally was a senior Fulbright Fellowship to Indonesia. He has also participated in residencies at MacDowell\, Civitella\, and Light Work. In addition to his project\, “The Islands of New York” he is working on a show titled\, “The Monhegan Wildlands” with the Bowdoin College Art Museum and is completing work on his second book\, The Covid Journals.
URL:https://expressnewark.org/event/occupying-wall-street-covid-journals/
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240220
DTEND;VALUE=DATE:20240720
DTSTAMP:20240220T202157Z
CREATED:20240220T201105Z
LAST-MODIFIED:20240220T202157Z
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SUMMARY:At the Bottom of the Atlantic Ocean There's a Railroad Made of Human Bones
DESCRIPTION:At the Bottom of the Atlantic Ocean There’s a Railroad Made of Human Bones\nAdebunmi Gbadebo\nAfter losing her mother\, Brenda Ravenell\, to COVID-19 in 2020\, Adebunmi Gbadebo traveled to the True Blue Plantation\, where her ancestors were enslaved in Fort Motte\, South Carolina. Connecting with her cousin\, Jackie Whitmore\, Gbadebo created a memorial for her mother at the True Blue Cemetery\, a burial ground for her enslaved family members and their descendants. When she returned to her art studio after these tragedies\, Gbadebo found a large circle sheet created from a pool of leftover cotton\, hair\, water\, and indigo dye. For Gbadebo\, these dried-together materials had taken a shape that symbolized the cycles of her grief and healing process. Pulling inspiration from Amiri Baraka’s performance of his “Why’s\, Y’s\, Wise” poem\, a long poem in the tradition of the Djalí (Griots)\, she titled the piece “At the Bottom of the Atlantic Ocean There’s a Railroad Made of Human Bones.” \nReturning to her mother’s burial site\, which is located next to Gbadebo’s great-great-great-uncle William Ravenel\, works with her cousin Benny Haynes to create the “At the Bottom of the Atlantic Ocean There’s a Railroad Made of Human Bones II.”  \nFor the third textile in this series\, Gbadebo used screen prints of Ravenel’s image by incorporating strokes of indigo dye. Her practice blends the use of historically charged materials like cotton and black hair with abstract expressionism to open larger narratives about slavery\, Fort Motte\, and her family’s history. \nGbadebo invited filmmaker and Express Newark’s Community Media Center director Yvonne Michelle Shirley and CMC member Vanessa Blake to document her creation of these new works in Fort Motte\, South Carolina\, and her studio in Philadelphia. On their journey\, Gbadebo sourced water from the historic Congaree River\, once used to transport enslaved peoples and goods\, and from Haynes’s private property. The film\, “Visions in the Blackness” captures Gbadebo’s first visit to Fort Motte in the winter when she noticed how the cotton harvested there was hauled into large six-foot bales\, and the circular form resonated with the shape of the original work she set out to recreate. \n \nVisions in the Blackness from Express Newark on Vimeo. \nAdebunmi Gbadebo  \nVisions in the Blackness\, 2024 \nFeaturing Adebunmi Gbadebo and Benny Haynes\, Director: Yvonne Michelle Shirley\, Cinematography: Vanessa Blake\, Sébastien Denis\, Yvonne Michelle Shirley\, Producer: Alliyah Allen\, Production Coordinator: Brooke Finister\, Editor: Stefani Saintonge\, Colorist: Kya Lou  \nAbout Adebunmi Gbadebo\nAdebunmi Gbadebo (Ah-dae-bu-mee Bha-dae-bo) is a multimedia artist who uses culturally and historically imbued materials to investigate the complexities between land\, matter\, and memory on various sites of slavery. Centering on deeply resonant materials like indigo dye\, soil hand dug from plantations\, and human Black hair collected throughout the diaspora\, Gbadebo has formed a visual vocabulary entirely her own. The resulting works tend to carry the stories of ancestors\, families\, and individuals either long overlooked or too closely surveilled. Born in New Jersey and based between Newark and Philadelphia\, Gbadebo earned her BFA at the School of Visual Arts\, NY\, and a certification in Creative Place Keeping at the New Jersey Institute of Technology. \nAdebunmi’s work in ceramics was recently on exhibition in\, Hear Me Now: The Black Potters of Old Edgefield\, South Carolina at the Metropolitan Museum of Art\, NY\, a show which predominantly exhibited the work of enslaved peoples\, a first in the Met’s history. The show will tour nationally. She is currently a 2022 Pew Fellow and a 2023 Maxwell and Hanrahan Fellow\, and Artist in Residence at the Clay Studio in Philadelphia. Gbadebo has been written about in notable publications\, including the New York Times\, Hyperallergic\, Hypebeast\, Brooklyn Rail\, Forbes\, and the American Craft Council magazine. Gbadebo has given talks at various educational and cultural institutions including at the Museum of the African Diaspora\, the Metropolitan Museum of Arts\, Barnard College\, and the Newark Museum of Art. \nGbadebo’s works are included in the permanent collection at the Smithsonian National Museum of African Art\, Smithsonian National Museum of African American History and Culture\, the Minneapolis Institute of Art\, the South Carolina State Museum\, the Boston Museum of Fine Arts\, the Newark Museum of Art\, amongst others. Gbadebo has presented in exhibitions across the  US and internationally at the Dhaka Art Summit\, Bangladesh\, and the 1-54 African Art fair\, London\, and will be exhibiting in the Biennale of Sydney (Australia) in 2024. \nShe served as the Community Engagement Apprentice to Architect Nina Cooke John for the building of the Harriet Tubman Monument built in Newark\, NJ\, to replace a statue of Christopher Columbus. Gbadebo is currently working with students and faculty at Clemson University to create a sculpture that honors the 667 enslaved and Black laborers who transformed Fort Hill Plantation into Clemson University and whose unmarked burials were recently identified on the campus grounds.
URL:https://expressnewark.org/event/at-the-bottom-of-the-atlantic-ocean-theres-a-railroad-made-of-human-bones/
CATEGORIES:Exhibition
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