Sadie Barnette Website Home Page

Family Tree, 2022

INSTAGRAM FEED

RASHAD (((SOULNUBIAN))) PRIDGEN REST IN POWER

RASHAD
(((SOULNUBIAN)))
PRIDGEN

REST IN POWER

I feel like I can’t do this, but you would say YES YOU CAN… so um thank you… for teaching me movement when I was tiny and collaborating on Eagle Creek when I was bigger, but knowing that I still felt tiny and holding my hand. Thank you for using your whole being to crack open slivers of this plane, to connect direct to spirit and to let earthlings witness and feel and glimpse the sacred. You lit the Eagle Creek on fire every time, and the smoke went up in prayers. You shared the assignment widely and brought so many stars into the orbit. Every performance was new costumes, new masquerades, new video that you edited, new research, new references, new lessons you taught. Thank you thank you thank you. All the candles, all the flowers, all the love, all the power, all the beats, all the groove, all the lights, forever. Prolific performer, accomplished artist, generous teacher… RADIANT CONDUIT. Rashad x Soul Nubian.

We love you and we miss you. @rashadxsoulnubian

Opening soon in NYC: Scrawlspace September 19 —

Opening soon in NYC:
Scrawlspace
September 19 — Dec 7
The 8th Floor @rubinfoundation

“The Shelley & Donald Rubin Foundation is pleased to present Scrawlspace, a new group exhibition curated by Emily Alesandrini and Lucia Olubunmi R. Momoh.The project brings together work by artists of the African diaspora who conceptually mine and aesthetically manipulate text, writing, and language. Artists include Sadie Barnette, Lukaza Branfman-Verissimo, Sonya Clark, Tony Cokes, Renee Gladman, Kameelah Janan Rasheed, Steffani Jemison, Glenn Ligon, Adam Pendleton, Jamilah Sabur, Gary Simmons, and Shinique Smith.”

Image: Sadie Barnette’s “Fancies,” colored pencil and powdered graphite, 36 x 45 in, 2022

@whitetrashcurator @lucia_bunmi @sadiebarnette @bluekaza @sysclark @cokes_tony @prosearchitectures @kameelahr @steffanijemison @glennligon @pendleton.adam #jamilahsabur @garysimmonsstudio @shiniquesmith

FUN FACT: This series is based on the lil “How T

FUN FACT: This series is based on the lil “How To” books I used to make in school when @bridgethevoid and @paper_cuts_zines put me up on ‘zine game. Now that I’m taking it to the wall, the frame functions like the page did — a rigid container that creates unity within the diversity of materials and images. And I still got more questions than answers🤷🏽‍♂️

“How To, Vol II”
2024

Colored pencil, powdered graphite, & inkjet prints in 12 frames.

“How To, Vol II” 2024 Colored pencil, powder

“How To, Vol II”
2024

Colored pencil, powdered graphite, & inkjet prints in 12 frames.

This series is based on zines I used to make. Bringing it back — same questions with still no answers, same wishing and willing for some wrapped-up candy-treat morsel of KNOWING but also trying to just ride the fluffy cloud of non-knowing because, because, because.

☁️🧸☁️
☁️☁️☁️

This series is based on zines I used to make. Brin

This series is based on zines I used to make. Bringing it back — same questions with still no answers, same wishing and willing for some wrapped-up candy-treat morsel of KNOWING but also trying to just ride the fluffy cloud of non-knowing because, because, because.

“How To, Vol II”
2024

Colored pencil, powdered graphite, & inkjet prints in 12 frames

“Baby Boss” 2024 Pencil on paper, archival pig

“Baby Boss”
2024
Pencil on paper, archival pigment prints
42 x 34 in.

New POLYPTYCHS on view
@thearmoryshow
@jessicasilvermangallery