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Nicola Vassell is pleased to announce representation of the multidisciplinary artist Adebunmi Gbadebo. Working with paper, ceramics, sound, and film, Gbadebo explores the archival record of her family’s ancestry in Nigeria and enslavement in America. Through her research, material selection, and technical process, the artist emphasizes the prejudice of the historical record, activating her practice to restore Black subjectivity.
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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
Inspired by the 60th anniversary of the acclaimed book Blues People: Negro Music in White America by writer, poet, and political activist Leroi Jones, who later renamed himself Amiri Baraka, visual artists – Derrick Adams, Adama Delphine Fawundu, Adebunmi Gbadebo, Cesar Melgar, and Accra Shepp – have reimagined a pivotal work of theirs and created five newly commissioned art installations in Express Newark that explore what it means to be “Blues People” in the twenty-first century. To learn more about this exhibition, please click here
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"At the center of “Hear Me Now: The Black Potters of Old Edgefield, South Carolina,” a revelatory exhibition at the Metropolitan Museum of Art, stands a majestic artifact: a stoneware storage jar that may qualify as one of 19th-century America’s great sculptures. It measures over two feet high, with a slightly rippling surface layered with drips of glaze in contrasting earth tones, from deep umber to ocher.
Elegantly proportioned, it swells out and up from a sturdy foot and then angles inward to form a shoulder with four ear-like handles to indicate that lifting it could be a considered, cooperative effort. It is possible to think of the jar as a monument, or memorial. Unlike the bronze equestrian variety dedicated to kings, conquerors and colonels since the Renaissance, however, it does not narrate history as much as contain it. In this regard it is something of a sacred object." continue reading by clicking link below
Ethan Lasser and Rev. Dr. Alexander Pope Jr. stand on top of a pile of shards of pottery in Stoney Bluff Plantation in Edgefield. These shards were created due to breaking after being fired in a kiln.
Hear Me Now: The Black Potters of Old Edgefield, South Carolina
I am thrilled to announce that my ceramic works will debut in the upcoming traveling exhibition, Hear Me Now: The Black Potters of Old Edgefield, South Carolina opening at the Metropolitan Museum of Art, NY.
Focusing on the work of African American potters in the 19th-century American South, in dialogue with contemporary artistic responses, the exhibition presents approximately 50 ceramic objects from Old Edgefield District, South Carolina, a center of stoneware production in the decades before the Civil War. It will include monumental storage jars by enslaved and literate potter and poet David Drake alongside rare examples of the region’s utilitarian wares, as well as enigmatic face vessels whose makers were unrecorded.
Augmented by a scholarly publication, robust audio content, and new scientific research, Hear Me Now represents a critical contribution to the field of American art. It aspires to link past to present, in part by including the work of leading contemporary Black artists who have responded to or whose practice resonates with the Edgefield story, such as Simone Leigh, Adebunmi Gbadebo, Woody De Othello, Theaster Gates, and Robert Pruitt.
Exhibition Dates: September 9, 2022–February 5, 2023
Exhibition Location: The Met Fifth Avenue, Gallery 955, Robert Lehman Wing
Following the exhibition’s debut at The Met, it will travel to the Museum of Fine Arts, Boston (March 6– July 9, 2023), the University of Michigan Museum of Art, Ann Arbor (August 26, 2023 – January 7, 2024), and the High Museum of Art, Atlanta (February 16– May 12, 2024).
The exhibition is co-curated by Adrienne Spinozzi, Associate Curator of American Decorative Arts at The Met; Ethan Lasser, John Moors Cabot Chair of the Art of the Americas at the MFA; and Jason Young, Associate Professor of History at the University of Michigan. A group of artists and scholars were engaged in the planning of the exhibition.
Adebunmi Gbadebo’s artworks incorporate materials such as hair, soil, old documents, and water to address longstanding cultural erasure
The Smithsonian National Museum of African Art Acquires Adebunmi Gbadebo’s I Sang the Blues Blacker: 9 Holes
The Smithsonian National Museum of African American History and Culture Acquires Adebunmi Gbadebo’s I Sang the Blues Blackest: 9 Holes
By Erica Cardwell
Using human hair from people of the African Diaspora.
A Dilemma of Inheritance: Adebunmi Gbadebo Employs Abstraction and Non-Traditional Materials to Mine Memories and Histories of Enslavement
Mapping Black Identities
Installation views of the exhibition “Mapping Black Identities”. Thursday, February 21, 2019 – Monday, July 20, 2020. Galleries 373 and 374, Modern and Contemporary Galleries, Minneapolis Institute of Art. Organized by Minneapolis Institute of Art. Photo
© 2020 Minneapolis Institute of Art
I have been invited to exhibit at the 5th edition of the Dhaka Art Summit (DAS) in Dhaka, Bangladesh curated by Diana Campbell Betancourt. DAS is an international, non-commercial research and exhibition platform for art and architecture related to South Asia. With a core focus on Bangladesh, DAS re-examines how we think about these forms of art in both a regional and an international context. Founded in 2012 by the Samdani Art Foundation – which continues to produce the festival – in collaboration with the Ministry of Cultural Affairs, People’s Republic of Bangladesh, DAS is hosted every two years at the Bangladesh Shilpakala Academy.