Support Hyperallergic’s independent arts journalism.
Oakland-based artist Sadie Barnette often draws on her family history in her work, incorporating personal memories and historical documents into Day-Glo, futuristic installations. Her 2017 exhibition Dear 1968,… engaged with her father’s 500-page FBI surveillance file, which she gained access to through a Freedom of Information request. Rodney Barnette was a founder of the Compton chapter of the Black Panthers in 1968, after which he was put on the COINTELPRO watchlist. Sadie Barnette’s project features several redacted pages of her father’s file, onto which she has intervened with pink rhinestones and spray paint, reclaiming this attempt to discredit her father.
Barnette’s current exhibition at the Institute of Contemporary Art, Los Angeles, focuses on the New Eagle Creek Saloon, the first Black-owned gay bar in San Francisco, which Rodney ran from 1990 to 1993. Disenfranchised from mainstream gay bars that catered to a white clientele, the queer POC community found a safe space at the saloon which functioned as a bar, gathering place, and community center. Barnette’s installation reimagines the saloon, not as it looked, but as a glittering utopian monument, rife with potential. This Thursday night, the work will be activated to celebrate the joint birthdays of Sadie and Rodney, who were born on the same day. The evening will feature a talk by the Barnettes, followed by a performance from the Global Street Dance Masquerade, and a celebration soundtracked by DJ Jihaari, where attendees can rekindle the themes of resistance and community that characterized the original New Eagle Creek Saloon.
When: Thursday, October 10, 7–10pm
Where: Institute of Contemporary Art, Los Angeles (1717 E. 7th Street, Downtown, Los Angeles)
More info at ICA LA
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.