PRIZM 2020 All times EST

PROGRAM

Nov 30

06:30 PM

PRIZM PREVIEW 2020
HOSTED BY CCH POUNDER

ZOOM

Prizm invites our Patrons to enjoy an evening hosted by Actress, Activist and Collector, CCH Pounder with Executive Director and Chief Curator of the New Orleans African American Museum, Gia Hamilton, and Independent Curator and Co-Founder of ARTNOIR Larry Ossei Mensah.

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PRIZM X ART SEEN 365
JARED MCGRIFF

STUDIO SERIES

Prizm & Art Seen 365 visit Miami-based artist Jared McGriff at his studio to learn more about his art-making process.

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PRIZM X ART SEEN 365
MARK FLEURIDOR

STUDIO SERIES

Prizm & Art Seen 365 visit Miami-based artist Mark Fleuridor at his studio to learn more about his art-making process.

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PRIZM X ART SEEN 365
N. MASANI LANDFAIR

STUDIO SERIES

Prizm & Art Seen 365 visit Georgia-based artist N.Masani Landfair at her studio to learn more about his art-making process.

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PRIZM X ART SEEN 365
SOFÍA CÓRDOVA

STUDIO SERIES

Prizm & Art Seen 365 visit Miami-based artist Sofía Córdova at her studio to learn more about his art-making process.
Born in 1985 in Carolina, Puerto Rico, and currently based in Miami, Florida, Sofía Córdova makes work that considers sci-fi as alternative history, dance music’s liberatory potential, the internet, colonial contamination, mystical objects, and extinction and mutation as evolution, within the matrix of class, gender, race, late capitalism, and its technologies.

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PRIZM X ART SEEN 365
YANIRA COLLADO

STUDIO SERIES

Yanira Collado lives and works, Miami, FL. Collado identifies as a Dominican born in New York. She attended Miami’s New World School of the Arts for high school, studied at The School of the Art Institute of Chicago, and later pursued studies in Early Childhood Education.

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IN THE STUDIO
MOREL DOUCET

STUDIO SERIES

Morel Doucet (b. 1990) is a Miami-based multidisciplinary artist and arts educator that hails from Haiti. He employs ceramics, illustrations, and prints to examine the realities of climate-gentrification, migration, and displacement within the Black diaspora communities. Through a contemporary reconfiguration of the black experience, his work catalogs a powerful record of environmental decay at the intersection of economic inequity, the commodification of industry, personal labor, and race.

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IN THE STUDIO
COLLECTING WITH CCH

STUDIO SERIES

Actress, Activist, and Consummate Collector, CCH Pounder, shares her 2020 collecting journey in support of artists in what has been an unpredictable year on many fronts. Enjoy a tour of her new acquisitions and her gallery Corentyne Cottage House

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REMEMBERING
DR.DAVID C. DRISKELL

Prizm Panels

In 2018, Prizm had the honor of hosting A living Legacy conversation featuring Distinguished University of Maryland Professor Emeritus of Art David C. Driskell in conversation with the David C. Driskell Center’s Executive Director, Professor Curlee R. Holton as part of the “Living Legacy National Speaking Tour”. Their conversation highlighted Driskell’s contributions as an artist, scholar, and cultural historian and the contributions of African American artists to the American art canon. Dr. David C. Driskell was a giant, a mentor to many, and an unwavering ambassador for the arts.

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REMEMBERING
MARVIN FABIEN

PRIZM PERFORM

In 2017, Nyugen Smith(USA/Trinidad/Haiti) and Marvin Fabien (Dominica/Martinique) presented, Lest We Forget, a multi-sensory performance derived from their on-going dialog related to the impacts of hurricanes and climate change in the Caribbean and the most venerable parts of the United States. Marvin Fabien had a penchant for, through his hypnotic use of sound, conjuring the aesthetics of the popular music culture of the Caribbean whilst simultaneously rendering hair raising Digital Performances that address key issues affecting the Caribbean region. Fabien was easily becoming an indelible force in the continued development of contemporary practice in the Caribbean/Global South. May we continue to remember his work through our continued efforts to amplify Diasporic narratives and perspectives.

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Dec 1

06:30 PM

PRIZM X CMXNR

PRIZM PANELS

On Tuesday, December 1 at 6:30-7:30 PM, Join PRIZM and CMXNR for a lively chat and for a curator tour and talk about emerging trends in art from the Diaspora with Mikhaile Solomon of Prizm Art Fair, Lauren N’Namdi of N’Namdi Contemporary, Tiana Webb Evans of Yard Concept, and Dejha Carrington of Commissioner. Panelists will discuss various topics including how to advance the novice collector’s access to art, strategies for building a collection, the role of institutions in building community, and more.

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Dec 10

05:30 PM

COLLECTING CULTURE
JAMAICA THEN AND NOW

PRIZM PANELS

Susanne Fredricks art advisor, gallerist, and Founder and Director of Jamaica-based platform Suzie Wong Presents ‘the Caribbean, seen,’ and Tiana Webb Evans writer, cultural entrepreneur, and Founder and Creative Director of Yard Concept. discuss the historical and contemporary dynamics of collecting art in Jamaica.

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10:00 AM

WHEN LIBERTY BURNS
PRIZM FILM

SCREENING

An in-depth analysis of the 40th Anniversary of the life and untimely death of Arthur Lee McDuffie at the hands of Miami Dade police officers.

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Dec 11

7:00 PM

When Liberty Burns: A discussion with Dudley Alexis and Johanne Rahaman
moderated by Nadege Green

PRIZM PANELS

Prizm presents a conversation between Filmmaker Dudley Alexis and exhibiting Prizm artist Johanne Rahaman moderated by storyteller and journalist, Nadege Green, in a discussion covering the events accounted in Alexis’s film, documenting Miami and South Florida through the lens of Rahaman, and black archival memory in Florida.

Programmed by Monica Sorelle

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Dec 12

12:00 PM

YARD CONCEPT X PRIZM
Yard Concept Reading Circle 06 | Poetics of Relation

PRIZM PANELS

YARD CONCEPT X PRIZM ART FAIR
Yard Concept Reading Circle 06 | Poetics of Relation by Edouard Glissant | Saturday, December 12th at 12pm
Readers: Tiana Webb Evans, Nyugen Smith, Lucia Hierro, and Mikhaile Solomon

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Dec 21

05:30 PM

COLLECTING IN 2020
HOSTED BY CCH POUNDER

PRIZM PANEL

To conclude Prizm’s 8th Edition, we will end with a Collectors’ talk hosted by CCH Pounder in conversation with John Ellis, moderated by Halima Taha. The panel will share their 2020 collecting journey in support of artists in what has been an unpredictable year on many fronts. You can also enjoy a video tour of CC’s new acquisitions and her gallery Corentyne Cottage House in this video preparation for tomorrow’s chat. We look forward to seeing you online!

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Yetunde Olagbaju | Superposition Gallery

Yétundé Olagbaju is an artist and maker, currently residing in Oakland, CA. They utilize video, sculpture, action, gesture, and performance as through-lines for inquiries regarding Black labor, legacy and processes of healing. They are rooted in the need to understand history, the people that made it, the myths surrounding them and how their own body is implicated in history’s timeline.

A woman from Kentucky makes 10,000 or more pancakes for thousands of visitors for a popular pancake mix company. An enslaved rice laborer digs 780 miles of canals for rice cultivation in South Carolina; many of which are still intact today. A Khoikhoi woman’s body is posthumously cast in plaster, preserved in jars, and displayed for millions to see in Paris and London. 
Recorded accounts and research help us to know that these stories are indeed based in fact, and yet they often read as myth. How did they do this work? How does a human body feel while hosting and entertaining millions of people, while making 10,000 pancakes? How can labor still be conducted after death? 

And finally, how do these records transform from recollection, to myth, to archetype, to effigy? 

With myths in hand, I excavate, investigate, and canonize the lives lived and the labor conducted by these Black people. In my work, this often manifests in reenactment of the unseen labor, experiments in erasure, and rituals to transmute any harm inflicted. 

I achieve this endeavor by employing color, photography, myth building, detritus, my body, plaster, clay, time-based media, and imagined landscapes. 

A few years ago, I decided to research the first “Mammy” I could remember, which was Aunt Jemima. Her smiling face and cheerful demeanor left an indelible mark in my memory. I found the story of Nancy Green-a formerly enslaved woman who would go on to be the first brand ambassador for Aunt Jemima Pancakes. In 1893 at the World’s Columbian Expo in Chicago it was rumored she made upwards of 10,000 pancakes for visitors. While she flipped pancakes, she sang songs, told stories, and danced. Later that year, Aunt Jemima Co. would go on to sell 50,000 units of product, with Nancy Green’s face on every box. Nancy Green’s face would go on to become an icon that is inextricably linked to the American household and the Western collective consciousness. Green’s family would later file a lawsuit against Quaker Oats (the current owner of Aunt Jemima) to compensate for her and others like her 33 years of labor and continued use of her likeness. The case would later be dismissed. 

As I read this story I wondered: what would a monument to her labor look like? Could a static sculptural object encompass the weight of her myth? How could I reference her work and the deep impact of her labor? I made my piece 10,000 Seconds for Nancy Green, a large 400 pound sculpture made of plaster, flour, baking powder, and repurposed aprons, to begin that work. 

Through this piece, I honored Nancy and her labor through slow and soft destruction. For 10,000 seconds I shaved down the large plaster monument I built up. With rake, sand paper, and chisel, I scratched away at my sisyphean metaphor for White Supremacy. This action of shaving lent itself to a revealing and visibilizing of Nancy’s labor and body. 

This illumination through sculpture, action, gesture, and performance is the foundation of my practice.

My practice is upheld by the desire to understand how facts can straddle the line between labor and lore. These bits of myth can flatten the complexities of hard work and as such collapse time completely. But it is also about how, in that collapse, new narratives can emerge, new ways of coping can form, and a better understanding of self can arise. And, through this process, a kind of catharsis can arise.