As the name implies, the collection hails from The Studio Museum in Harlem. Founded in the tumultuous year of 1968, The Studio represented a space for Black artists to express themselves and work in a supportive and collaborative environment. Made up from pieces by over 80 artists, Black Refractions features work from the 1920s to the present and displays the wide range of styles and talents of Black creators.
Art is often thought of as the expression of oneself. A place where you transfer your emotions into music, paintings, or written words. But for Sadiqua Iman, an artist of many outlets, art represents a place for healing.
Native to Chattanooga, Tennessee, Iman says Seattle offered opportunities for artistic expression that she couldn’t find elsewhere.
“When I got here, I fell in love with the opportunities,” Iman said. “I’ve traveled around a lot just for my career and for life and have found — to be able to penetrate and get grants and do original work which is one of the things that I love doing, more original work in devised pieces, you pretty much had to either sleep with everybody, be related to everybody, or pay everybody in order to even get your foot in the door. When I came to Seattle, I had tons of ideas and when I put them out there, they were accepted, they were funded, they were supported, and it was like, ‘Oh shoot! So this is what it’s like to actually be able to work as an artist and not feel like you are just kind of throwing your soul out there for free?’ which I have definitely felt in many of the places that I lived.”
How do we sense at this time? With the onslaught of violence against Asian American and Asian Diasporic people, the horrifyingly regular state-sanctioned murders of Black and Brown people (including CHILDREN), and general harm towards those who our society minoritizes, I’ve been feeling numb and guilty in my inability to sense, as well as to post, donate, fight, and make sense of what’s going on. How do we sense well at this time?
In a riveting new exhibit on the many ways the Black female body is gentrified, Anastacia-Reneé brings us into her character Alice Metropolis’s life as she struggles with breast cancer, white supremacy, redlining, and the gentrification of her neighborhood.
This immersive new exhibit, called (Don’t Be Absurd) Alice in Parts, combines video, poetry, art installations, audio tracks, and photography to tell the story of Alice Metropolis.
During the virtual opening night event, hosted by Dani Tirrell, Anastacia-Reneé emphasized that the goal of her exhibit was to highlight the parallels of the gentrification of the Black physical space, the Black body, and the Black mind.