Home is a place of memory and belonging, but it is also a place of migration and instability. Each of these artists’ practices illuminate the reimagining of historical narratives as a means of interrogating colonial landscapes, family history, repression, and resistance, whether it be in an effort to understand or expand possibilities, or explore a new aesthetic of Blackness. We are so excited to have these three artists join us, first by presenting their work and then in conversation to explore the ways in which the very notion of seeking home is problematized. There will also be time for audience Q&A.
This event is part of our year-long exploration on the theme of “Home, What does it look like now?” Against the backdrop of a global pandemic, state sanctioned violence against black bodies, the CBVC will explore the significant ways black visual narratives respond to the dynamic cultural, political, social, economic and intimate changes that have forced us to (re)interrogate previous conceptions of blackness and home. Within the context of Covid-19, home is both comfort and host to multiple modalities of black disruption and displacement. The crisis has brought into sharp relief the ways in which familial and cultural ties of black diaspora are troubled and forced to morph when geographical borders once bridged through the relative ease of travel, are suddenly restricted. The theme provides a framework that enables us to both reflect and imagine. For example, how do we sustain our connectivity by fueling the diasporic imaginary? These are some of the questions we will be exploring in the Fall 2021 and Spring 2022 season, along with the concept of Black Joy in Resistance.
This event is hosted by the CBVC at the Institute of African American Affairs and co-sponsored by the Center for the Study of Gender and Sexuality at the Department of Social and Cultural Analysis, NYU; the 370J Project; and the Department of Photography and Imaging, Tisch School of the Arts, NYU.
Sadie Barnette’s multimedia practice illuminates her own family history as it mirrors a collective history of repression and resistance in the United States. Barnette holds a BFA from CalArts and an MFA from the University of California, San Diego. She has been awarded grants and residencies by the Studio Museum in Harlem, Art Matters, Skowhegan School of Painting and Sculpture, and the Headlands Center for the Arts. Her work is in the permanent collections of institutions such as the Los Angeles County Museum of Art; Oakland Museum of California; Studio Museum in Harlem; Brooklyn Museum; and the Solomon R. Guggenheim Museum. She lives and works in Oakland, CA, and is represented by Charlie James Gallery in Los Angeles and Jessica Silverman in San Francisco. Sadie Barnette: Legacy & Legend, a partnership between the Benton Museum of Art at Pomona College and Pitzer College Art Galleries, will open September 2021. Socials: IG @sadiebarnette Website:
Zalika Azim is an interdisciplinary artist whose work explores the tensions between personal and collective narratives to investigate the ways in which memory, migration and belonging are contextualized in relation to colonized landscapes. Utilizing photography, installation, archives, text, sound, and social organizing as a framework, she is developing projects that explore black imagination as a means for understanding possibility. Azim’s work has been presented at Gagosian, The International Center of Photography, The Maryland Institute College of Art, Welancora Gallery, Diego Rivera Gallery, and the African American Museum in Philadelphia. Her first solo exhibition was presented in 2019 with Baxter Street at The Camera Club of New York. She has participated in residencies at the McColl Center for Art and Innovation, Shandaken Projects–Governors Island, BRIC, and Baxter St CCNY. Azim received a BFA in Photography & Imaging and a BA in Social and Cultural Analysis from New York University. Instagram – 26thletter zalikaazim.com
Tyler Mitchell (American, b. 1995) is a photographer and filmmaker based in Brooklyn, working across many genres to explore and document a new aesthetic of Blackness. Mitchell is regularly published in avant-garde magazines, commissioned by prominent fashion houses, and exhibited in top tier institutions.
In 2018, he made history as the first Black photographer to shoot a cover of American Vogue for Beyoncé’s appearance in the September issue. In 2019, a portrait from this series was acquired by The Smithsonian National Portrait Gallery for its permanent collection. This, alongside many other accomplishments, has established Mitchell as one of the most closely watched up-and-coming talents in image making today.
His first solo exhibition I Can Make You Feel Good at Foam Fotografiemuseum Amsterdam (2019) premiered video works including Idyllic Space. An iteration of this show is now on view at The International Center of Photography (ICP) in New York. A monograph of the same title expands upon both shows and was published by Prestel in August 2020.
Mitchell has lectured at a number of institutions including Harvard University, Paris Photo and The International Center of Photography (ICP).