[Working Title] Young, Gifted and Black / Curated by Hank Willis Thomas / 2015

[Working Title] Young, Gifted and Black / Curated by Hank Willis Thomas / 2015
26 September - 11 November 2015
Installation View
Titus Kaphar
George Washington's Chef, 2015
Tar and oil on canvas
60 x 48 inches
Zoe Buckman
Bitch Again, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
I Like Em Cute, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
I See You Walking, 2014
Embroidery on vintage lingerie
Variable
Gerald Machona
Keep calm and untie the noose I, 2015
Digital print in pigment inks on cotton rag paper
Image: 118 x 79 cm Paper: 128 x 89 cm
Jody Paulsen
I've Got Potential , 2015
Felt
250 x 200cm
Adam Pendleton
Black Dada/Column (AIA), 2015
Silkscreen ink on canvas
243.8 x 193 x 3.8cm
Zoe Buckman
Brother's Clown, 2014
Embroidery on vintage lingerie
Variable
Omar Victor Diop
Omar Ibn Said, 2015
Pigment ink jet printing on Hahnemuhle paper by Harman, courtesy of Magnin-A
120 x 80cm
Nolan Oswald Dennis
I Have No Tongue and I Must Scream, 2015
Gold and black ink on wall

Toyin Ojih Odutola
The Treatment 16, 2015
Pen ink an dpencil on paper
12 x 9 inches
Zoe Buckman
The Darker the Flesh, 2015
Embroidery on vintage lingerie
Variable
Bethany Collins
Certain, 1982, 2015
Pink Pearl eraser and American Masters paper

Yashua Klos
When The Meteor Crashed, 2015
Ink and woodblock prints collaged on archival paper

Kiluanji Kia Henda
Poderosa, 2014
Installation with small framed newspaper article
Variable
Toyin Ojih Odutola
The Treatment 10, 2015
Pen ink and pencil on paper
12 x 9 inches
Adam Pendleton
System of Display, R (PROTEST Untitled Bauhaus photo), 2015
Silkscreen ink on plexiglass and mirror
23.2 x 23.2 x 7.6cm
Nina Chanel Abney
Untitled (C x 2), 2015
Spray paint, paper collage on wood panel
36 x 36 inches
Toyin Ojih Odutola
The Treatment 3, 2015
Pen ink, gel ink and pencil on paper
12 x 9 inches
Gerald Machona
Keep calm and untie the noose II, 2015
Digital print in pigment inks on cotton rag paper
Image: 118 x 79 cm Paper: 128 x 89 cm
Jacolby Satterwhite
Reifying desire 6, 2011
Single Channel film

Tabita Rezaire
Peaceful Warrior , 2015
HD video , Ipad, amethyst geode
5 minutes 39 seconds
Toyin Ojih Odutola
The Treatment 8, 2015
Pen ink and pencil on paper
12 x 9 inches
Adam Pendleton
WE (we are not successive), 2015
Silkscreen ink on mirror polished stainless steel
118.9 x 156.1 x 1.6cm Panel W 118.9 x 90.5 x 1.6cm Panel E
Derrick Adams
This Could All Be Yours, 2015
Mixed media collage on paper
81.3 x 121.9cm
Derrick Adams
Runnin' Things, 2015
Mixed media collage on paper
81.3 x 121.9cm
Toyin Ojih Odutola
The Treatment 2, 2015
Pen ink, gel ink and pencil on paper
12 x 9 inches
Shinique Smith
Bale Variant No.0023 (Totem), 2014
Clothing, fabric, accessories, ribbon, rope and wood
244 x 51 x 51cm
Zoe Buckman
They Don't Call Me Big, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
Definition of Feminine, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
Do We Hate Our Women, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
He Left Her, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
Sucking on Her Chest, 2014
Embroidery on vintage lingerie
Variable
Zoe Buckman
She Came Twice, 2014
Embroidery on vintage lingerie
variable
Toyin Ojih Odutola
The Treatment 6, 2015
Pen ink and pencil on paper
12 x 9 inches
Shinique Smith
Seed of Life, 2015
Acrylic, ink, fabric and paper collage on canvas over wood panel
Each Panel 244 x 122 x 6cm
Omar Victor Diop
Frederick Douglass, 2015
Pigment ink jet printing on Hahnemuhle paper by Harman, courtesy of Magnin-A
90 x 90cm
Bethany Collins
Vital, 1968, 2015
Toner and graphite on American Masters paper
76.2 x 111.8cm
Zoe Buckman
Kidneys Shift , 2015
Embroidery on vintage lingerie
Variable
Adam Pendleton
Untitled (if the function of writing is to express the world), 2015
Vinyl
dimensions variable
Yashua Klos
Star Gazer Mask (Fully Functional) with Giza Headdress , 2014
Ink and woodblock prints collaged on archival paper
114.3 x 149.5cm
Ebony G Patterson
Lily, carnation, and rose budz, 2014
Mixed media jacquard tapestry with Papier Mache balls, 2 music 'boxes', 1 embellished tricycle, 25 knitted blue flowers, 1 plastic gold crown, 1 silver wand, 1 baby doll, 1 pink and white skipping rope, 1 pair of gold baby booties, 1 pair of white patent leather girl shoes, 20 alphabet magnet pieces, 1 blue rubber frog
144 x 132 inches overall
Sadie Barnette
Untitled (Mixing Desk), 2015
Plastic, enamel and dirt
80 x 100cm
Titus Kaphar
...Pitch tar thunderclouds rush like waves on folded, cerulean, nail pierced, canvas sky, 2014
Oil, tar and nails on canvas, with a wood frame
12 x 14 x 2 3/4 inches

[Working Title] Young, Gifted and Black / Curated by Hank Willis Thomas / 2015 - Installation View

26 September - 11 November 2015

Titus Kaphar

George Washington's Chef

Zoe Buckman

Bitch Again

Zoe Buckman

I Like Em Cute

Zoe Buckman

I See You Walking

Gerald Machona

Keep calm and untie the noose I

Jody Paulsen

I've Got Potential

Adam Pendleton

Black Dada/Column (AIA)

Zoe Buckman

Brother's Clown

Omar Victor Diop

Omar Ibn Said

Nolan Oswald Dennis

I Have No Tongue and I Must Scream

Toyin Ojih Odutola

The Treatment 16

Zoe Buckman

The Darker the Flesh

Bethany Collins

Certain, 1982

Yashua Klos

When The Meteor Crashed

Kiluanji Kia Henda

Poderosa

Toyin Ojih Odutola

The Treatment 10

Adam Pendleton

System of Display, R (PROTEST Untitled Bauhaus photo)

Nina Chanel Abney

Untitled (C x 2)

Toyin Ojih Odutola

The Treatment 3

Gerald Machona

Keep calm and untie the noose II

Jacolby Satterwhite

Reifying desire 6

Tabita Rezaire

Peaceful Warrior

Toyin Ojih Odutola

The Treatment 8

Adam Pendleton

WE (we are not successive)

Derrick Adams

This Could All Be Yours

Derrick Adams

Runnin' Things

Toyin Ojih Odutola

The Treatment 2

Shinique Smith

Bale Variant No.0023 (Totem)

Zoe Buckman

They Don't Call Me Big

Zoe Buckman

Definition of Feminine

Zoe Buckman

Do We Hate Our Women

Zoe Buckman

He Left Her

Zoe Buckman

Sucking on Her Chest

Zoe Buckman

She Came Twice

Toyin Ojih Odutola

The Treatment 6

Shinique Smith

Seed of Life

Omar Victor Diop

Frederick Douglass

Bethany Collins

Vital, 1968

Zoe Buckman

Kidneys Shift

Adam Pendleton

Untitled (if the function of writing is to express the world)

Yashua Klos

Star Gazer Mask (Fully Functional) with Giza Headdress

Ebony G Patterson

Lily, carnation, and rose budz

Sadie Barnette

Untitled (Mixing Desk)

Titus Kaphar

...Pitch tar thunderclouds rush like waves on folded, cerulean, nail pierced, canvas sky

NINA CHANEL ABNEY | DERRICK ADAMS | SADIE BARNETTE | ZOE BUCKMAN | BETHANY COLLINS | NOLAN OSWALD DENNIS | OMAR VICTOR DIOP | TITUS KAPHAR | KILUANJI KIA HENDA | YASHUA KLOS | GERALD MACHONA | TOYIN OJIH ODUTOLA | EBONY G PATTERSON | ADAM PENDLETON | JODY PAULSEN | TABITA REZAIRE | JACOLBY SATTERWHITE | SHINIQUE SMITH

In keeping with our mission to investigate critical moments in the interconnected histories of global black life, Goodman Gallery is pleased to present To Be Young, Gifted, and Black the next edition of the ongoing series Working Title, an exhibition curated by one of our most thoughtful and provocative artists, Hank Willis Thomas.

Taking inspiration from Nina Simone’s iconic song To Be Young, Gifted, and Black (1969), written in memory of playwright Lorraine Hansberry, the author of Raisin in the Sun (1959) who died in 1964 at the age of 34, To Be Young, Gifted, and Black is about our moment, looking back at theirs. What lies between their Civil Rights and our #BlackLivesMatter? All over the world we cry out ever more fervently that our lives matter, even as evidence mounts supposedly to the contrary. However, we ourselves have never been in doubt of this truth, as Simone’s powerful words attest. She shares other great truths, singing that When you’re young, gifted, and black / Your soul’s intact, and, To be young, gifted, and black / Is where it’s at.

To Simone, these affirmations—these unique gifts—of soul and belonging, gained because of one’s race, age, and abilities, not in spite of, are fact. So too, to the artists in To Be Young, Gifted, and Black. Speaking both to the spirit of the song and of our times, they highlight the timeless matter-of-factness of Simone’s words, as well as a conscious contemporary need to hear, feel, and state her assertion boldly and loudly, unapologetically and with gusto.
Hank Willis Thomas is a conceptual artist working with themes related to identity, history and popular culture. He received his BFA from New York University’s Tisch School of the Arts and his MFA in photography, along with an MA in visual criticism, from California College of the Arts (CCA) in San Francisco.

Thomas has acted as a visiting professor at the MFA programs at Maryland Institute College of Art and has lectured at Yale University, Princeton University and the Musee du Quai Branly in Paris. His work has been featured in several publications including 25 under 25: Up-and-Coming American Photographers (CDS, 2003), as well as his monograph Pitch Blackness (Aperture, 2008). He received a new media fellowship through the Tribeca Film Institute and was a 2011 fellow at the W.E.B. DuBois Institute at Harvard University. He has exhibited in galleries and museums throughout the U.S. and abroad and his work is in numerous collections including the Whitney Museum of American Art, The Brooklyn Museum and Museum of Modern Art. His collaborative projects have been featured at the Sundance Film Festival and installed publicly at the Oakland International Airport.

Tabita Rezaire

Tabita Rezaire (b.1989, Paris, France) is a French-born Guyanese/Danish new media artist, intersectional preacher, health practitioner, tech-politics researcher and Kemetic/Kundalini Yoga teacher based in Guyana.

Rezaire’s practice explores decolonial healing through the politics of technology. Navigating architectures of power – online and offline – her works tackle the pervasive matrix of coloniality and its effects on identity, technology, sexuality, health and spirituality. Disseminating light, her digital healing activism offers substitute readings decentering occidental authority, hoping to assist in the ‘dismantling [of] our white-supremacist-patriarchal-cis-hetero-globalized world screen’, according to Rezaire.

Rezaire is also a founding member of NTU, half of the duo Malaxa, and mother of the energy house SENEB.

Artsy declared her among the 10 International Black artists to watch in 2016, and True Africa among the top 100 innovators and opinion makers on the continent in 2015. Rezaire has shown her work internationally at the Berlin Biennale, Tate Modern London, Museum of Modern Art Paris, MoCADA NY, The Broad LA, and Serpentine Gallery in London. Rezaire has presented her work on numerous panels, including Het Nieuwe Institut Rotterdam, Royal Academy The Hague, Kunsthalle Bern, National Gallery Harare, Cairotronica, Fakugezi Digital Art Africa Johannesburg. She has curated screenings at the Institute of Contemporary Art London, led technology and ‘booty politics’ workshops worldwide, conducted at yoga session at Museum of Modern Art in New York and has her writings published by Cambridge Scholars.

Rezaire holds a Bachelor in Economics (Paris) and a Master in Artist Moving Image from Central Saint Martins College (London).

Nolan Oswald Dennis

Nolan Oswald Dennis is an interdisciplinary artist from Johannesburg, South Africa. His practice explores what he calls ‘a black consciousness of space’ : the material and metaphysical conditions of decolonization.

His work questions the politics of space and time through a system-specific, rather than site-specific approach. He is concerned with the hidden structures that pre-determine the limits of our social and political imagination. Through a language of diagrams, drawings and models he explores a hidden landscape of systematic and structural conditions that organise our political sub-terrain. This sub-space is framed by systems which transverse multiple realms (technical, spiritual economic, psychological, etc) and therefore Dennis’ work can be seen as an attempt to stitch these, sometime opposed, sometimes complimentary, systems together. To read technological systems alongside spiritual systems, to combine political fictions with science fiction.

He holds a degree in Architecture from the University of the Witwatersrand, Johannesburg and a Masters of Science in the Art, Culture and Technology from the Massachusetts Institute of Technology (MIT).

Kiluanji Kia Henda

Kiluanji Kia Henda (b. 1979 in Luanda, Angola) employs a surprising sense of humour in his work, which often hones in on themes of identity, politics, and perceptions of postcolonialism and modernism in Africa. Practicing in the fields of photography, video, and performance, Kia Henda has tied his multidisciplinary approach to a sharp sense of criticality. A profound springboard into this realm comes from growing up in a household of photography enthusiasts. Furthermore, his conceptual edge has been sharpened by immersing himself in music, avantgarde theatre, and collaborating with a collective of emerging artists in Luanda’s art scene. In complicity with historical legacy, Kia Henda realises the process of appropriation and manipulation of public spaces and structures, and the different representations that form part of collective memory, as a relevant complexion of his aesthetical construction.

His solo exhibitions have been held in galleries and institutions around the world. His work has featured on biennales in Venice, Dakar and São Paulo as well as major travelling exhibitions such as Making Africa: A Continent of Contemporary Design and The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists.

Kia Henda currently lives and works between Luanda and Lisbon.

Hank Willis Thomas

HANK WILLIS THOMAS is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. His work has been exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts.

Gerald Machona

Gerald Machona is a Zimbabwean born Visual artist with a Master’s Degree in Fine Art from Rhodes University and a Bachelor’s degree from the University of Cape Town, completed at the Michaelis School of fine art. Machona’s work has been included on several prominent international exhibitions, which include the South African Pavilion at the 56th Venice Biennale in Italy, All the World’s Futures and at the 20th Biennale of Sydney, The future is already here – it’s just not evenly distributed. Machona’s work has also appearedin exhibitions at the Brooklyn Museum in New York and at the Zeitz Museum of Contemporary Art Africa in Cape Town.

Machona works with sculpture, performance, new media, photography and film. The most notable aspect of his work is his innovative use of currency—particularly decommissioned Zimbabwean dollars—as an aesthetic material. Machona’s current work engages with issues of migration, transnationalism, social interaction and xenophobia in Africa.

In 2013, Machona featured in Mail and Guardian’s 200 Young South African’s supplemental and was selected by Business Day and the Johannesburg Art Fair in 2011 as one of the top ten young African artists practicing in South Africa. In 2019 Machona was included on the group exhibition Still Here Tomorrow to High Five You Yesterday at Zeitz MOCAA in Cape Town.