Artworks in this gallery

• Prelude to Light: The Journey to Visibility (2026) — A Prelude to Light: The Journey to Visibility explores blackness as both origin and medium. The exhibit spaces begin in darkness, where forms and textures are initially obscured. However, blackness is not absence. It is dense, alive and foundational - a prelude to where light, meaning, and visibility emerge. As each viewer approaches the artwork, illumination gradually reveals the figures, histories, and narratives embedded within them. This progression mirrors the historical journey of black communities and black artists from marginalization and obscurity to recognition and creative power. Each step towards the artwork is a metaphor for the act of seeing and understanding. This exhibit will challenge viewers to reflect on how visibility is constructed as well as how Black artists have been able to continuously transform disenfranchisement, misinformation and misrepresentation into cultural influence and resilience. “Invisible things are not necessarily not-there.” Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (1992). Morrison’s quote helps us understand visibility versus existence. Light doesn’t give existence; it simply unveils it. This exhibit reveals that Black lives, stories, history, and art have always been present even when overlooked or denied. In darkness, Blackness is revealed not in absence but in origin. The artworks by Kara Walker, David Hammons, Rashid Johnson, Carrie Mae Weems, and Kerry James Marshall emerge from shadow, expressing that Black stories, histories, and resilience have always existed waiting to be seen. The 3D art gallery exhibit shows in order, Kara Walker’s Darkytown Rebellion was chosen to emphasize visibility with the use of immersive lighting highlighting racial caricatures and stories. David Hammon’s Untitled Body Print was chosen to present an example of texture created with physical presence to assert agency and challenge historical marginalization. Rashid Johnson’s Anxious Man is placed for emotional depth, identity, and to provoke thought about the psychological pressures of a Black person in America. Carrie Mae Weems’ From Here I Saw What Happened and I Cried creates a need for critical commentary on race, misrepresentation, and colonialism. Kerry James Marshall’s A Portrait of the Artist as a Shadow of His Former Self advocates for Black representation.
• Darkytown Rebellion 2001 by Kara Walker, Cut paper & projection 4.3x11.3m (2001) — A large immersive artwork made of cut paper silhouette figures and light projection displaying a dramatic scene that confronts the legacy of slavery and racial violence in American history. Darkytown Rebellion by Kara Walker is an intense and thought-provoking artwork that powerfully confronts the legacy of slavery and racial violence in the antebellum American South and the wider United States. The immersive scale, combined with the use of solid flat black cut paper silhouette figures and dramatic light projection creates a compelling visual and emotional experience. By using a traditional 18/19th century silhouette style, Kara Walker exposes historical narratives and the distortion of Black history. Overall, the artwork is extremely effective in provoking reflection and critical thought.
• Untitled Body Print 1975 by David Hammons, Grease & dried pigment on paper 29x23in (1975) — A life size body print created by David Hammons. This expressive silhouette is made by using his own body covered in grease and pressing it onto paper, then dusting the artwork in a powdered charcoal pigment to leave an imprint. David Hammons’ Body Print is an effective artwork that challenges traditional fine art. The use of grease and powdered charcoal to create a life-sized body print gives the artwork a strong physical presence while expressing symbolic significance. It shows the defined contrast of a dark figure on a light background along with texture from the charcoal. By physically using his own body on the artwork, David Hammons enables a strong visual sense reinforcing themes of identity, visibility, and marginalization. This artwork is powerful as it suggests that the viewer reflects on issues of race and representation in America.
• Anxious Man 2018 by Rashid Johnson, Black soap & wax etched on white tile 23.75x19.75in (2018) — A portrait of a gestural face/figure made with dark black soap and wax etched on white tile. Created with an expressive facial gesture implying tension and personal anxiety. Anxious Man is a compelling artwork that communicates both the personal and collective anxiety of the artist as well as Black men in America. The contrast and texture of the dark black soap and wax against the white tile, combined with the facial expression creates a focal point that draws the viewers’ attention to the emotional intensity of the artwork. By transforming an individual emotion into a broader universal commentary helps the viewer reflect on the pressures faced by Black men in America. Anxious Man is highly effective and provokes feelings of empathy while reflecting on subjects of race, identity, and mental health.
• From Here I Saw What Happened and I Cried 1995-96 by Carrie Mae Weems, Chromogenic prints with sandblasted text on glass 26.75x22in (1995) — A series of re-photographed and appropriated photos of African and African American slaves from the 19th & 20th century (33 total photos). Individual enlarged photograph portraits created with red tone filters and sandblasted glass text framed in circular mattes. From Here I Saw What Happened and I Cried is a compelling and visually striking series that effectively combines red toned portraits and etched text to confront the historical objectification of Black people. Carrie Mae Weems thoughtful appropriation and reinterpretation of 19th & early 20th century ethnographic photographs create a powerfully emotional viewing experience while inviting a critical commentary on racism, colonialism, and representation, ultimately reclaiming the humanity and dignity of the subjects depicted in the series.

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