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Adrian L. Burrell

He // Him // His

Interdisciplinary Storyteller

Oakland, California

Adrian, a Black man with locs, a navy blue corduroy jacket, and white graphic T shirt, stands in front of a building.

Photo by Dondre Stuetley.

Adrian L. Burrell is a third-generation Oakland artist utilizing photography, installation, and experimental media. Burrell's work examines issues of race, class, and intergenerational dynamics, inviting moments where collective storytelling can be a site for remembering. He is a US Marine Corps veteran and a graduate of the San Francisco Art Institute (BFA, Film) and Stanford University (MFA, Department of Art & Art History), where he lectured, served as the Black Graduate Student Community Outreach Chair, and was a Visiting Artist with Stanford's Institute for Diversity in Arts. Burrell was a 2021 YBCA Creative Cohort Fellow and has held residencies at SFFILM, Black Rock Senegal, and the Black Freedom Fellowship in Salvador, Brazil. He has held solo exhibitions at the Minnesota Street Foundation and the ICA San Jose.

Burrell has lived and worked on four continents, and his work has been featured in The New Yorker, Black Star Film Festival, PopUp Magazine, Photo Ville, the Pingyao International Photography Festival in China, and SFMOMA, where his series It's After the End of the World, Don't You Know That Yet?, a collective self-portrait examining normalized violence inflicted on Black lives, resides in the permanent collection. He received the San Francisco Camerawork Jurors Choice Award in 2019. His first monograph, Sugarcane and Lightning, is currently available through Minor Matters Publishing. Burrell is in development on his first feature film, Cousins, which was the recipient of a 2022 SFFILM Rainin Grant.

Donor -The Rainin Arts Fellowship is supported by the Kenneth Rainin Foundation.

This artist page was last updated on: 09.05.2024

A room is dimly lit with a blue-tinted light. On the left wall of the room is a spotlit photograph of a figure in white clothing standing in front of a pink building. To the right of the photograph is a window. On the right wall of the room is a spotlit photograph of a Black man wearing a white shirt crossing his arms and a Black child standing beside him wearing a baseball cap. They are both facing the camera. On the center wall is a projection image of a Black boy standing shirtless in a tub of water. The image is from an aerial view and the boy stares up into the camera.

The Game God(S) (installation view) by Adrian L. Burrell, 2022. Film, 19 minutes 1 second. Installed at Micki Meng Gallery Los Angeles.

A Black person wears a pearl necklace, white button-down jacket, white skirt, and white heels and holds a silver gun in their right hand. Their hair is silver and braided with sprigs of small white flowers and hangs over their left shoulder down to their knees. They are standing in front of the entrance of a pink building with graffiti on its walls. The sign above the door reads "Mexicali Rose" in cursive. On the door is a red neon sign of a rose.

God Don't Like Ugly by Adrian L. Burrell, 2020. Inkjet print, 60 × 40 inches.

An image of two women is projected onto stalks of sugarcane. The woman on the left is wearing a red hat and an orange blouse. The woman on the right is wearing a white hat and a blue blouse.

The Saints Step in Kongo Time by Adrian L. Burrell, 2022. Film, 19 minutes 1 second.