EXHIBITION STATEMENT

BRIGHT:

Giving out or reflecting a lot of light; shining.

(of a person, idea, or remark) intelligent and quick-witted.

Josef Albers wrote “color is almost never seen as it really is”. This statement holds true because depending on how colors are displayed they can be distorted and perceived incorrectly. In addition to exploring color in a literal form, this exhibition explores the idea of distortion in the context of narratives - particularly those of the Black diaspora. 

Race is one of the most polarizing topics within America and is now more than ever guiding conversations within the art world with a growing emphasis on Black stories told by Black artists. BRIGHT sheds light on the true meanings, feelings, and nuances that appear in Black stories - aspects that can only be communicated in full by the people living these truths day-in and day-out. 

Andrew Gray’s “Museum Guard” kicks off the exhibition in a very bold way, illustrating the feelings of frustration many Blacks have within the fine art industry. In this work, Gray portrays a vision of black bodies being allowed to “protect” artwork, while their creations are seen as unworthy of being on display within those same large institutions, evident through the alarming statistics showing that Black art is severely underrepresented in museum collections and exhibitions.

| Artwork created by Black artists make up less than 2% of museum collections and less than 8% of museum exhibitions feature Black artists.

The practice of Black stories being told through a “White gaze” leaves out important details and cultural understanding. BRIGHT provides contemporary artists with an opportunity to expose a past that has longed to be brought to light. Hidden histories of the Black cowboys, Pullman Porters, and messages woven into quilts during the Underground Railroad can be found in Megan Lewis’, Schroeder Cherry’s, and Michael A. Booker’s work.

The Black perspective within everyday life is important to convey as well, because it represents common, mundane activities that help inform the way Black people are perceived by all. The ordinary is presented in Marie Amegah’s explorations of Black womanhood, Destiny Belgrave’s depictions of Black fatherhood, and Arin Mitchell’s highlighting of Black musicianship. Furthermore, David Ibata’s portraits provide a glimpse into the lives of those whom we cross paths with, whose stories may be forgotten. 

Obtaining a knowledge of self and an understanding of one’s lineage can be difficult for peoples whose history has been torn away from them. This yearning for comprehension and self-identity is found in Jabari C. Jefferson’s work, and the results of this higher knowledge reside within Ambrose’s large-scale textile work. The imagination and freedom presented in her larger-than-life work delivers a mysticism that can lead to embracing one’s full self, and the ability to pass that power onto others.

The stories in BRIGHT are significant to the way Black life is taught, understood, and internalized. In order to continue this sort of equitable storytelling, Black people must be the cicerones of this effort and lead the world in the necessary direction towards change. The anecdotes being told throughout this exhibition shine a bright light on the vital education that needs to be done within the art world and beyond. These artists will not allow their light to be dimmed.