2022 USA Fellowship
2022 USA Fellowship
![A Black man stands under a spotlight, staring directly at the viewer. His gleaming torso is bare and his lower body is wrapped in an American flag. Behind him is a blank wall with a single strand of police tape running along the length of the wall.](https://usa-p-36588810407f.b-cdn.net/54980df9-3d82-4732-824e-0e779c943e37/wondertwins-work-sample-1-3.jpeg?crop=1200%2C1181%2C0%2C0&width=1000)
Wondertwins in performance.
Photo courtesy of the artists.
![A photograph of an outdoor performance on a waterfront. A performer leans back, supported by taut red ribbons tied at their waist that stretch beyond the frame to the right. The performer wears a white shirt, red pants, and a medical mask.](https://usa-p-36588810407f.b-cdn.net/527eb0df-b7d2-47f6-a27f-b7ce181e2d10/allegra-indira-work-sample-1-3.jpg?crop=1200%2C801%2C0%2C0&width=1000)
Corresponding Sites by Indira Allegra, 2021. 30 minutes. Commissioned by The Wattis Institute.
Photo by Chani Bockwinkel.
![Photo of a view down an outdoor passageway of light, textured concrete, leading to a doorway. A triangular awning hangs overhead.](https://usa-p-36588810407f.b-cdn.net/e922ebe7-b87e-43a7-8246-315d1d12cf7e/so-il-work-sample-1.jpeg?crop=1200%2C1799%2C0%2C0&width=1000)
SO–IL. Amant art campus. East Williamsburg, Brooklyn.
Photo by Rafael Gamo.
![Close-up photograph of a wooden chair on its side. A person wearing a tan suit reclines behind the wooden slats of the chair’s back, holding them as though they were bars. A brick wall is visible in the background.](https://usa-p-36588810407f.b-cdn.net/0a9a1ffc-42ff-4418-b002-5c297ccd672c/freeman-jenn-pochop-sample-1.png?crop=1600%2C900%2C0%2C0&width=1000)
LITANY | Pt. V | Dynamite by Jenn Freeman | Po'Chop, 2020. Filmed at Rebuild Foundation by Jordan Phelps.
Courtesy of the artist.
![<em>Paramodernities> trailer by Netta Yerushalmy thumbnail](https://usa-p-36588810407f.b-cdn.net/f5cdcedb-3222-44fd-80a4-6c4023434e92/ParamodernitiesbyNettaYerushalmythumbnail.png?crop=2872%2C1616%2C4%2C0&width=1000)
Paramodernities> trailer by Netta Yerushalmy, 2019.
Video courtesy of the artist,
!["Becoming a Ballroom Legend" Episode 1 of <em>MY HOUSE</em> created by Elegance Bratton thumbnail.](https://usa-p-36588810407f.b-cdn.net/d9427ef8-0782-48ad-a4f9-578afc0bdb25/BecomingaBallroomLegendEpisode1ofMYHOUSEcreatedbyEleganceBrattonthumbnail.png?crop=2880%2C1620%2C0%2C25&width=1000)
"Becoming a Ballroom Legend" Episode 1 of MY HOUSE created by Elegance Bratton, 2019.
Video courtesy of VICE Life.
![A photograph of a person who lunges with their right leg forward and arms above her head. She is posing in a small room, in profile. The walls are covered in white paper with black paint smeared on it.](https://usa-p-36588810407f.b-cdn.net/f9490e98-1833-478f-85d2-6da1f63fb874/vazquez-viveca-work-sample-1-3.jpeg?crop=1200%2C801%2C0%2C0&width=1000)
Improvisation at a public investigation laboratory by Viveca Vázquez, Hidrante Gallery, San Juan.
Photo courtesy of the artist.
![<em>Yellow Rose</em> by Diane Paragas trailer thumbnail.](https://usa-p-36588810407f.b-cdn.net/185dc47e-0abd-4895-95ba-c9a98e04c3f9/YellowRosebyDianeParagastrailerthumbnail.png?crop=1964%2C1105%2C458%2C0&width=1000)
Yellow Rose by Diane Paragas trailer, 2020.
Video courtesy of Sony Pictures.
![Craig Taborn live at Skopje Jazz Festival thumbnail.](https://usa-p-36588810407f.b-cdn.net/e0cf9906-03eb-46c9-b4d6-38cb7262e8e3/LiveatSkopjeJazzFestivalCraigTabornthumbnail.png?crop=2851%2C1604%2C14%2C0&width=1000)
Craig Taborn live at Skopje Jazz Festival, 2015.
Video courtesy Skopje Jazz Festival.
![Marga Gomez Interview thumbnail.](https://usa-p-36588810407f.b-cdn.net/227cb046-e80a-43ee-a8e4-3e0ca8fabff6/Screenshot2024-07-15at8.11.50PM.png?crop=2880%2C1620%2C0%2C90&width=1000)
Latin Standards, by Marga Gomez, 2018. Performed in San Francisco at Brava Theater.
Video courtesy of the artist.
!["Max Brown" by Jeff Parker and the New Breed thumbnail.](https://usa-p-36588810407f.b-cdn.net/26c91585-d365-43e8-8326-edff2a2feee4/MaxBrownbyJeffParkerandtheNewBreedthumbnail.png?crop=2880%2C1620%2C0%2C6&width=1000)
Short video for "Max Brown, Pt. 1" from the album SUITE FOR MAX BROWN by Jeff Parker and The New Breed, 2020. International Anthem/Nonesuch. New Orelans.
Video by Mikel Patrick Avery.
![Slow Moving Luminaries by Lars America Jan thumbnail](https://usa-p-36588810407f.b-cdn.net/c00827a6-ce4a-413d-b3b1-210d4f9aa213/SlowMovingLuminariesbyLarsAmericaJanthumbnail.png?crop=2880%2C1620%2C0%2C3&width=1000)
Slow Moving Luminaries by Lars America Jan, 2017. Presented by the 3rd Audemars Piguet Art Commission at Art Basel Miami Beach (2017).
Video courtesy of the artist.
![Photo of a stage play, the actors in 19th century period costume and a chandelier hangs above them. A boy in a vest and top hat moves his hips in an exaggerated motion, while others, including a woman in a blue hoop dress, a man in red face paint, and a man in blackface, stand behind him on the stage looking shocked.](https://usa-p-36588810407f.b-cdn.net/acec3070-0f2d-420b-9fc1-22109edd49c4/garrett-nataki-sample-3-3.jpeg?crop=1200%2C827%2C0%2C0&width=1000)
An Octoroon by Branden Jacobs Jenkins, directed by Nataki Garrett. Performed at Woolly Mammoth Theatre Company in 2016.
Photo by Branden Jacobs Jenkins
![A nude White woman luxuriates on a background of black fabric. The left side of her torso is engulfed in the deep folds of pink fabric that circle around her head and is tucked under her bent knees.](https://usa-p-36588810407f.b-cdn.net/6812d91a-c95e-4eac-b094-88f151e2f2a0/machine-dazzle-sample-2-2.jpeg?crop=1200%2C1501%2C0%2C0&width=1000)
Photo by Steven Menendez.
"Mi Pueblito en la Ciudad" by César Castro, 2020.
![An abstract design ripples across the background, which is made of quilted material. The lines of the design look like faces in profile, painted in white forming a stark contrast against the blacks and greens of the background.](https://usa-p-36588810407f.b-cdn.net/f44f29da-3fdd-4497-946d-8bf4f10384b2/holley-lonnie-work-sample2-2.jpg?crop=1200%2C1200%2C0%2C0&width=1000)
I Can Always Fly by Lonnie Holley, 2020. Paint, oil stick, spray paint, on quilt and wood, 49 × 49 inches.
Photo courtesy of the artist.
![A quilt of many textures, colors, and patterns depicting a Black woman weaving a basket in a wicker chair. She sits on a field of turquoise, green, and purple fabric.](https://usa-p-36588810407f.b-cdn.net/26ea5f69-b263-4fcb-86b7-6e4f9a34abde/hartwell-peggie-work-sample-2-2.jpeg?crop=1200%2C1078%2C0%2C0&width=1000)
Sweetgrass Basket Weaver by Peggie L Hartwell, 2018. Cotton/batik fabrics, cotton batting, and thread, 40 × 40 inches.
Photo courtesy of the artist.
![Martha Redbone Tiny Desk Concert thumbnail](https://usa-p-36588810407f.b-cdn.net/3d0f19b8-c1f0-47f5-a934-8ced60057438/MarthaRedboneTinyDeskConcertthumbnail.png?crop=2869%2C1614%2C5%2C0&width=1000)
Martha Redbone performs for Tiny Desk (Home) Concert, 2021.
Video courtesy NPR Music.
![White and black beaded embroidery on a dark background. The image is a flat and stylized image of a caribou standing under a flowering vine. The embroidered scene is framed by a brown marbled background.](https://usa-p-36588810407f.b-cdn.net/4f1d7185-62e7-48dd-8ff3-b79a9a640e5a/hoffman-karen-ann-worksample2-4.jpg?crop=1200%2C947%2C0%2C0&width=1000)
Rock Art Caribou by Karen Ann Hoffman, 2015. Glass beads on velvet, Lake Superior and agates in a ceramic frame, 32 × 30 inches.
Photo by James Gill Photography.
When a Person Goes Missing (Excerpt)
When my brother was a teenager and I was in grade school, he let some bullying kids from his high school convince him to skip the day and invited them over to our house. The boys refused to leave after being asked, so my brother grabbed our father’s shotgun and corralled them into the bathroom, the barrel pointed in the boys’ direction. The bathroom door now locked, my brother held the rifle, luckily, up toward the ceiling so that when his finger slipped and the mechanism went off, the bullet, with its massive force, went through the second-floor ceiling, the attic, and then out the roof of the house into the sky. How the rest of the family received the details of the incident, I can’t recall. But to travel home now is to walk beneath the hole in the ceiling stuffed with newspaper from 1978. To return is also to encounter the past lurking behind me, contorting its face so I can really feel it—its truncated force, whispering a ghost voice into my ear.
If I believed in omens, I’d say the shotgun incident was the worst of omens, literary in its foreshadowing. We can smell a hint of devastation, can’t we, a scent you can’t quite recognize upon first whiff, but you turn your nose away knowingly. Where will our characters end up? Our armed protagonist? The girl who tells the story? When I began working on this essay I wanted it to be about fate—how two black kids raised by the same working class parents could have radically different life outcomes because, as fate would have it, divergent occurrences compelled divergent paths. Bruce never went back to the high school with the bullying boys. He dropped out. It’s around this time when my parents get a call in the middle of the night that Bruce is in custody at the local precinct for being caught in a stolen car. It’s the 1970s and no charges are pressed. Boys being boys. That night, my father beats my brother mercilessly with a washing machine hose in the dank basement of our house. The chaos of a violence like that is astonishing. The cacophonous screaming. The inability for anyone to stop it. The cold pallor that hangs in the air afterward. A chasm emerged between us—me, floating off like some wandering balloon; my brother tethered tightly to a familiar story of trouble and poverty, like most of the kids in our neighborhood.
The question of fate was a fake question. It was a refusal to see how the good daughter is a part of the problem. As a kid, I was the exception, the one who would make it out of the ghetto, the one bussed out of town for school. I liked being the exception. I loved the ways people’s eyes would glimmer when I told them any little thing about my life, or when I, simply said anything aloud. “So well-spoken,” the middle class blacks would say. I basked, annoyingly, in their glow. I didn’t mind either when my brother failed because his failure meant my light shone even brighter. When Bruce is 17, already dropped out of high school, and I am 11, I’m allowed to go on ski vacations with the white families whose children I go to school with. I cannot ski, but they are patient. I don’t notice that I’m the only black face on the Vermont slopes. On the first trip, I’ve brought with me my beloved copy of Thoreau’s Walden, or Life in the Woods, not that I could understand much of it. I loved it anyway, however, for its mysteriousness, and for how its “I” stands so solidly in the wilderness.
Essay by Dawn Lundy Martin. Originally published in
![A painting of a cartoonish figure falling against an abstracted, striped sky hung with polka-dotted clouds. His eyes and mouth are wide with apparent alarm. The figure is clothed in many different colors and patterns with white boots and gloves, encircled by loops of white.](https://usa-p-36588810407f.b-cdn.net/df33f5d5-153a-4c3c-900d-e90102fd1a3e/williams-peter-work-sample-1.jpg?crop=1280%2C964%2C0%2C0&width=1000)
On the Way by Peter Williams, 2019. Oil and graphite on canvas, 72 × 96 inches.
!["Moan to Me (For Blind Willie Johnson)" by Leroy F. Moore Jr. thumbnail.](https://usa-p-36588810407f.b-cdn.net/d5dacbc3-2942-4152-88ac-7b703c390094/MoantoMeForBlindWillieJohnsonbyLeroyF.MooreJr.thumbnail.png?crop=2880%2C1620%2C0%2C88&width=1000)
"Moan to Me (For Blind Willie Johnson)" from Krip-Blues Stories EP by The Black Kripple aka Leroy F. Moore Jr, 2017.
Video courtesy of the artist.
![A photograph of a plaza in a modern urban environment under a slightly overcast sky. The plaza is surrounded by buildings with prominent glass windows. In the center of the square is a tall stone obelisk with a gold inscription reading, “I was a stranger and you took me in."](https://usa-p-36588810407f.b-cdn.net/2dbe9ee8-7b57-4b4f-be23-8607fb686925/oguibe-olu-sample-1-3.png?crop=1200%2C800%2C0%2C0&width=1000)
Das Fremdlinge und Flüchtlinge Monument (Strangers and Refugees Monument) by Olu Oguibe, 2017. Outdoor monumental sculpture made from concrete and stainless steel with engraved and gilded text in English, German, Arabic, and Turkish languages, 18.8 × 18.8 × 53.2 feet. Kassel, Germany.
Photo by Reimund Lill, courtesy of the artist.
![A framed black and white printed fabric on a bright yellow background. The abstract geometric shapes of the illustration are arranged to look like the Oglala Sioux Tribe flag, a sunlike pattern. Borders of very small, illegible text, frame the illustration of the sun like newspaper columns. The right side of the fabric frays into the yellow background.](https://usa-p-36588810407f.b-cdn.net/23f1ae59-4363-4e30-a8b6-f259135d2ecf/two-bulls-jr-marty-sample-1-3.png?crop=1200%2C1311%2C0%2C0&width=1000)
Lakota Quarantine Flag (Red Shirt Table Health Checkpoint) by Marty Two Bulls Jr., 2020. Printed fabric, sorrow, bravery, fear, wind, sun, rain, and hail, 25 × 23 inches.
Photo by Ashley Pourier.
![A person stands with their back to the viewer with their hands on their hips in front of a large painting. The artwork features repeating imagery, reminiscent of animation cells. Together, the images create an upside down isosceles triangle.](https://usa-p-36588810407f.b-cdn.net/f593a950-6772-4d42-a0be-55cf8e361e3f/carlson-andrea-work-sample-1-3.jpg?crop=1200%2C789%2C0%2C0&width=1000)
Ink Babel by Andrea Carlson, 2015. Oil and ink on paper.
Photo by Sam Fritch.
![An illustration of a white, red, and brown monument on a blue background. The monument’s columns stretch and bend towards the entablature inscribed with the words "Carter Harrison Technical High School Walkouts Black Mondays." Below the words are two portraits — one of Victor Adams and the other of Sharron Matthews.](https://usa-p-36588810407f.b-cdn.net/a2e62bfd-d93c-43bf-bde0-5c1bc66ac3b1/marraquin-nicole-sample-1-3.jpeg?crop=1200%2C1734%2C0%2C0&width=1000)
Walkout at Harrison High School 1968 by Nicole Marroquin, 2019. Silkscreen. Published with Hoofprint Studios.
Photo by Liz Born.
[No strawberry moon]
No strawberry moon for me, tonight. No strawberry moon. This small house creaks when I walk and open it. I have to weigh it, to goddess or not tonight. Goddess or godless. God is in my sleeping children’s presence tonight. I use words like god when I haven’t seen the strawberry moon, less when I haven’t been so generous. It’s not about gender—ess or less—but heft of the weight. Inside me like a baby. When people procreate. Romance a dashing thing. The harvest upon us. Will we feast or collapse in exhaustion tonight which is every?
Poem by Emmy Pérez, 2016. Originally published in Poem-a-Day by the Academy of American Poets, 2016.
![<em>Sound as Sight: Columbus/Humboldt</em> by Andy Slater thumbnail.](https://usa-p-36588810407f.b-cdn.net/d30246a3-8f70-4903-aea7-b85494cf00e7/SoundasSightColumbusHumboldtbyAndySlaterthumbnail.png?crop=2609%2C1468%2C135%2C0&width=1000)
Sound As Sight: Columbus/Humboldt by Andy Slater, 2020. 360 VR audio piece composed of sounds from Columbus Park and Humboldt Park in Chicago. Commissioned by the Chicago Park District and facilitated by the Midwest Society for Acoustic Ecology.
Video courtesy of the artist.
![A photograph of a White disabled man laying horizontally, center right of the image, on a manicured lawn. His chest and arms are tattooed, and the image is cropped just below a yellow tube that is inserted in the man’s groin. He looks directly into the camera.](https://usa-p-36588810407f.b-cdn.net/eaab404c-edd1-4fd4-a678-37bad229964b/coombs-robert-work-sample-1-3.jpeg?crop=1200%2C800%2C0%2C0&width=1000)
Nude on grass by Robert Andy Coombs, 2017. Inkjet print on metallic paper, 40 × 60 inches.
Photo courtesy of the artist.
![My Soul Remainer by Laura Ortman thumbnail](https://usa-p-36588810407f.b-cdn.net/c792f78e-9396-4473-a39e-6c9a71337702/MySoulRemainerbyLauraOrtmanthumbnail.png?crop=2872%2C1616%2C1%2C3&width=1000)
"My Soul Remainer" by Laura Ortman, 2016. Moon Media Session.
Video by Micahel Lucio Sternbach, courtesy of Moon Lasso.
![A woman kneels at a low table set with white ceramic dishes, holding a bowl and chopsticks. A folding screen is open behind her, depicting several mountains with various walls, ramps, and other constructions built onto them.](https://usa-p-36588810407f.b-cdn.net/50ac07cf-1828-4453-9aa0-2559da2eea74/design-earth-sample-1-3.jpg?crop=1200%2C794%2C0%2C0&width=1000)
Trash Peaks by Design Earth, 2017.
Photo by Kyungsub Shin.
Spring Summer Autumn Winter
I pushed my face toward
the sleeping radiator. I smelled a form
of justice. I wanted to be a poet. I waved
my living hands, dead
coupons. I watched him brush
his teeth. His teeth glinted
gorgeous. I stumbled.
Cartwheeled. I said, I will always fight
alongside you in the fight
against tartar buildup. I said, I will.
I said, Thank God without believing
in thanks. I thought what my parents did,
that wasn’t poetry. I believed
what white people said about my parents.
I had to say, Stop.
Stop believing them.
I suckled. Pickled. Made mistakes
about octopi. Wore a blue jockstrap
& took pictures. Accepted stickers of astounded
apples from friends. I was a wind
smooching another wind, who had
very good teeth. I was a name
everyone in America thought they were saying
right. Even he thought so.
Then asked, Is that right?
I pushed my face toward the noisy radiator.
Its clang & labor & here.
In bed I touched his voice
in his belly. I touched his Goodnight. He said it always
like it was important.
It was important. I believed in
the Silver Millennium. I said, Sailor Neptune,
one day, a poem for you.
I said, Sailor Neptune, teach me the Deep
Submerge, the Submarine Reflection, the thunderously
turquoise hair. I was a name
in America & would forget I belonged
to my teeth.
I dropped a single wish down the cavernous
mailbox. He would ask,
Is that right? He would bring
a single microwaved donut on a blue napkin at dusk.
He would leave me alone
with my poems. O
if I could lick all your toes at once. I would
write that poem. I loved him,
I told him. I loved him,
so told him about the dream.
The dream starred my parents, stars
of a death metal band’s
debut music video. They danced
like everyone was watching. It was important. Their arms
were poems. They said, So what
if we misspell “auditorium,” so fucking what—
we’ll always say
your name right.
They pushed their faces toward me.
Their poems toward me.
They leapt & thrashed, they were stars,
stars, stars.
I woke up weeping. Do you understand?
I thought I could only fall asleep
doing that.
Poem by Chen Chen, 2020.
![A book cover with the word "Heavy" written in a wide, serif font vertically down the center in a mustard yellow. Black text says "Kiese LAymon" and "An American memoir." Medallions on the cover identify the book as.a New York Times Book Review 100 Notable Books 2018 and Andrew Carnegie Medal for Excellence in Nonfiction.](https://usa-p-36588810407f.b-cdn.net/c81f86fb-aa82-4649-99a0-6f4d51f8c072/laymonkiese-heavy.jpeg?crop=1400%2C2132%2C0%2C0&width=1000)
Heavy, an American Memoir by Kiese Laymon, 2018.
Image courtesy of the artist.
The Book of Life And Death (Excerpt)
Ever since I left the Philippines to try my luck overseas, I’ve been lugging around a series of mismatched, plastic-covered photo albums and scrapbooks I call Marybelle’s Book of Life and Death. It’s a series. When I start a new album, I tape a ribbon to the center page, splitting the photo book into two chapters: Life and Death. I fill the pages of each album with snapshots of those who have just taken their first breath and those who have taken their last.
Without my mother’s help back home in Manila, my collection would be incomplete. For years, when someone in my family was born or died, my mother would grab the elbow of the photographer and say, “Remember copies for Marybelle.” Then she’d wrap the photos in plastic and mail them to wherever I was working—Lebanon or Saudi or Hong Kong.
Last year, my fellow Overseas Filipino Workers, the government called us new heroes, bagong bayani, poured the equivalent of over $33 billion, up 4 percent from the previous year, into our home country from all over Asia, Africa, and the Americas. We work on water—cruise and cargo ships; on land—nurses and nannies; underground—oil and mining; and in the air—constructing buildings and highway flyovers.
We are described as human capital stock, but I am very much human.
International mail takes forever, and I move around so much that sometimes the newborn is celebrating their one-year birthday or the newly dead is marking their first anniversary by the time the photos find me. But that was before smartphones and unlimited data. These days, my mother shares the images herself, sometimes taking pictures of someone else’s pictures, transmitting them instantly so that I can be sharply aware in real time of what I’ve missed. I print the photos in the few remaining places one can do this, pharmacies and copy shops. It’s convenient, but I don’t have the same feeling as when I would receive a thick envelope from the Philippines, the coarse, mustard-yellow paper still infused with the very odor of home. I’d hold it to my cheek, remembering the warmth of my mother’s skin. I felt loved, and remembering this love is how I survive without the company of the most important people to me.
Short story by Grace Taluson. Originally published by the Boston Book Festival as their "One City One Story," 2020.
![Twelve small squares made of sewn furs and skins of different colors and textures. Circles and orbs repeat in many of the drawings creating patterns like moon craters or cells under a microscope.](https://usa-p-36588810407f.b-cdn.net/599eb199-6b6b-4475-9f16-c18a3d3f1f09/williams-peter-work-sample1-3.jpeg?crop=1200%2C960%2C0%2C0&width=1000)
Seasons' Transitions by Peter Williams, 2019. Seal, otter, and thread, dimensions variable.
Photo courtesy of the artist.
![Borders Like Water by Las Imaginistas thumbnail](https://usa-p-36588810407f.b-cdn.net/9ac7808f-a024-4cc3-8cb9-5a71db86f0e0/BordersLikeWaterbyLasImaginistasthumbnail.png?crop=2876%2C1618%2C2%2C0&width=1000)
Opening Meditation of Borders Like Water by Las Imaginistas, 2021. Video, 3 minutes 55 seconds.
Video by Elijah Alvarado, courtesy of the artists.
![An overhead photograph of a garden formed of twelve raised beds arranged symmetrically to create a large pathway through the center, which contains three decorative rocks. The beds are filled with leafy green vegetables.](https://usa-p-36588810407f.b-cdn.net/19ebd9bd-1836-4069-9647-fa30351ae2d2/weber-jordan-sample-1-3.jpeg?crop=1200%2C900%2C0%2C0&width=1000)
Prototype for Poetry vs Rhetoric by Jordan Weber, 2021.
Photo by Teddy Grimes, courtesy of Walker Art Center.
![A sculpture of an anthropomorphized animal, with a snout and long ears. The animal is painted a greenish grey, with decorative dashes and dots. He is covered in ceramic floral shaped objects that also obscure a small boy the animal holds in a basket.](https://usa-p-36588810407f.b-cdn.net/1fccd84e-a4ca-4076-8bba-2a501d5157ce/farrag-sharif-sample-1-3.jpeg?crop=1200%2C899%2C0%2C0&width=1000)
Big Dog (Guardian) by Sharif Farrag, 2021, Glazed stoneware, dimensions 40.5 × 29 × 26 inches.
Photo by Genevieve Hanson, courtesy of Jeffrey Deitch Gallery.
![A vertical wall hanging covered in clashing geometric patterns. Thick black lines, resembling architectural blueprints, as well as more traditional designs, are superimposed atop a bright spectrum of colors and patterns beneath.](https://usa-p-36588810407f.b-cdn.net/12888826-a9bb-41e7-a11c-31a36f764b55/cody-melissa-sample-2-2.jpg?crop=1200%2C1482%2C0%2C0&width=1000)
Dopamine Regression by Melissa Cody, 2010. Wool warp, weft, selvedge cords, and aniline dyes, dimensions 70 × 48 inches.
Photo courtesy the artist and Garth Greenan Gallery, New York.
![T. Ayo Alston performance compilation thumbnail.](https://usa-p-36588810407f.b-cdn.net/2ecbdb0a-2fad-489b-80b2-cb2455f916eb/T.AyoAlstonPerformanceCompilationthumbnail.png?crop=2880%2C1620%2C0%2C0&width=1000)
T. Ayo Alston performance compilation.
Video courtesy of the artist.
![<em>T</em> trailer by Keisha Rae Witherspoon thumbnail.](https://usa-p-36588810407f.b-cdn.net/f0abac28-7801-4bc7-b62c-548d851110f2/TtrailerbyKeishaRaeWitherspoonthumbnail.png?crop=2880%2C1620%2C0%2C88&width=1000)
T trailer by Keisha Rae Witherspoon, 2019.
Video courtesy of the artist.
!["Spirit of Rice" by Kenny Endo Thumbnail](https://usa-p-36588810407f.b-cdn.net/4af3ca48-0321-431b-abb5-7dc1dacc3ed9/SpiritofRicebyKennyEndoThumbnail.png?crop=2876%2C1618%2C2%2C0&width=1000)
"Spirit of Rice" composed by Kenny Endo. Performed during Ten Ten, Kenny Endo 40th Anniversary Concert, 2015.
Video courtesy of Taiko Center of the Pacific.
![<em>The Feeling of Being Watched</em> trailer by Assia Boundaoui thumbnail.](https://usa-p-36588810407f.b-cdn.net/975d6b6b-f7f3-4934-be9b-653f32b83018/TheFeelingofBeingWatchedtrailerbyAssiaBoundaouithumbnail.png?crop=2876%2C1618%2C1%2C29&width=1000)
The Feeling of Being Watched trailer by Assia Boundaoui, 2019.
Video courtesy of the artist.
![<em>Mapping Access</em> by Critical Design Lab documentary trailer thumbnail.](https://usa-p-36588810407f.b-cdn.net/795a3d2d-3ecc-4e86-894c-53e2e5164a2d/MappingAccessbyCriticalDesignLabdocumentarytrailerthumbnail.png?crop=2449%2C1378%2C215%2C0&width=1000)
Mapping Access by Critical Design Lab documentary trailer, 2020.
![<em>And So We Walked</em> excerpts written and performed by DeLanna Studi thumbnail.](https://usa-p-36588810407f.b-cdn.net/12b306d6-901f-4be5-b9d9-4f1488bded66/AndSoWeWalkedexcerptswrittenandperformedbyDeLannaStudithumbnail.png?crop=2876%2C1618%2C2%2C0&width=1000)
Selected segments from And So We Walked written and performed by DeLanna Studi, 2018.
Video courtesy Portland Center Stage at The Armory.
![Ekwa Msangi director reel thumbnail.](https://usa-p-36588810407f.b-cdn.net/f4c0cfef-4072-4dd2-8c73-f2050680a7f7/EkwaMsangidirectorreelthumbnail..png?crop=2872%2C1616%2C3%2C0&width=1000)
Ekwa Msangi director reel, 2018.
Video courtesy of the artist.
!["On That Day" by Qacung thumbnail](https://usa-p-36588810407f.b-cdn.net/6d05ea16-96a5-4620-9bbe-0ac081cfb31f/OnThatDaybyQacungthumbnail.png?crop=2880%2C1620%2C0%2C0&width=1000)
"On That Day" by Qacung featuring AirJazz, 2021.
Video courtesy of the artist.
![Photo of six chairs set up in a museum space. The backs of the chairs are carved to resemble hair combs, each one in a slightly different style. The seats of the chairs are woven with a red-and-white design.](https://usa-p-36588810407f.b-cdn.net/45b08270-3b49-4bde-a70f-ab044ab074ed/barnes-germaine-1-3.jpg?crop=1200%2C780%2C0%2C0&width=1000)
Uneasy Lies the Head that Wears a Crown by Germane Barnes.
Photo by Steven Brooke.
![Parking Ramp Project by Pramila Vasudevan thumbnail](https://usa-p-36588810407f.b-cdn.net/43433c43-a789-4270-a439-c3f7392fdaec/ParkingRampProjectbyPramilaVasudevanthumbnail.png?crop=2876%2C1618%2C2%2C0&width=1000)
Parking Ramp Project by Pramila Vasudevan, 2018.
Video by Cully Gallagher.
“I really enjoy making things. I’ve always known that, but I forgot how important it is to my process – to create, design, and build the things I want to see in the world. I always hope that my joy is discernible in the details of the work when others encounter it, but I have to remember to protect the part of the process that is joyful for me, whether or not others can access it.”
![A portrait of a person from the midriff upwards. They have brown skin and a stoic expression as they stand amongst green foliage. Their eyes are obscured by dark sunglasses and framed by braids that hang loosely around their face. They wear a long-sleeve, black shirt that features two small beefy figures.](https://usa-p-36588810407f.b-cdn.net/75044629-79c8-4a62-a73f-59788b566eab/american-artist-3.jpg?crop=500%2C500%2C0%2C0&width=500)
American Artist
Artist and Educator
![A view of a gallery. Three school desks outfitted with ballistic shields are facing a television monitor from which a blue man stares out, a target on his forehead.](https://usa-p-36588810407f.b-cdn.net/2d2c1d31-957f-42c7-9fb1-06f735269812/artist-american-sample-1-3.jpg?crop=1200%2C800%2C0%2C0&width=1000)
Installation view of I'm Blue (If I Was █████ I Would Die) by American Artist, 2021. Installed at Commonwealth & Council, Los Angeles.
Photo courtesy of the artist.
!["Undefined Spaces" featuring Jin Hi Kim thumbnail.](https://usa-p-36588810407f.b-cdn.net/414b62be-8d20-4679-bf56-cd7ed492db9a/UndefinedSpacesJinHiKimthumbnail.png?crop=2876%2C1618%2C2%2C0&width=1000)
"Undefined Spaces" featuring Jin Hi Kim produced by CultureHub/La MaMa Theater, 2018.
Video courtesy of CultureHub.
![<em>Weave</em> by Rosy Simas thumbnail](https://usa-p-36588810407f.b-cdn.net/8921a9fc-9455-4400-8994-4f150844921d/WeavebyRosySimasthumbnail.png?crop=2880%2C1620%2C0%2C0&width=1000)
Weave by Rosy Simas, 2019. World Premiere at the Ordway Center for the Performing Arts, St. Paul, MN.
Video courtesy of the artist.
![A group of musicians performs on stage. From left to right: a woman holds a banjo; Brett plucks at a fiddle with his fingers, while the bow dangles in front of him; a woman plays the double bass, a man with a guitar strums.](https://usa-p-36588810407f.b-cdn.net/69f9f473-6038-40c3-9028-89ce975c2f32/ratliff-brett-sample-1-3.jpg?crop=1200%2C801%2C0%2C0&width=1000)
The High Tops (including Brett Ratliff) perform at 21c Museum Hotel in Lexington, Kentucky.
Photo courtesy of the artist.
![Virtual reality graphic still, looking down on a natural environment of palm trees, grasses, and rocks in muted greens.](https://usa-p-36588810407f.b-cdn.net/69752cd9-818b-4eff-954b-b6294cc96a95/asega-salome-work-sample-2-3.png?crop=1200%2C676%2C0%2C0&width=1000)
Still from P0SSESI0N by Salome Asega, 2021. VR film about spirit possession and Mami Wata.
Photo courtesy of the artist.
![A photo of a person, blurred from movement, ascending a metal ramp with walls of translucent blue fabric. The ramp zig-zags across the interior space where it has been set up.](https://usa-p-36588810407f.b-cdn.net/97936157-5dbb-414f-a74f-50f80092ef8e/dream-the-combine-work-sample-2-2.jpeg?crop=1200%2C900%2C0%2C0&width=1000)
Lure by Dream the Combine, 2019. Debris net, steel, 24 × 56 × 60 feet.
Photo by Caylon Hackwith.
![A photograph of a studio space with an installation made of natural materials strung onto the wall and a wooden altar, its steps scattered with flowers. A number of people sit in a row of folding chairs surrounding the altar space, engaged in quiet conversation.](https://usa-p-36588810407f.b-cdn.net/5a8e7553-a667-43cc-a0f0-ba43bb3646b1/gonzalez-santos-jorge-sample-1-3.jpg?crop=1200%2C960%2C0%2C0&width=1000)
Jorge González Santos and others sit in a studio space holding a wooden alter.
Photo by Sebastián Meltz-Collazo, courtesy of Embajada.
![Photo of an outdoor art installation at night. Six bright red architectural sculptures are constructed on the cement of a public plaza, illuminated by lights. The frames of each structure are strung with ropes, to create an inviting space.](https://usa-p-36588810407f.b-cdn.net/6b7fcc31-535b-43ad-805e-01034f659c4b/john-nina-cooke-sample-1-3.jpeg?crop=1200%2C800%2C0%2C0&width=1000)
Point of Action by Nina Cooke John, 2020. Flatiron Public Plazas.
Photo by Tony Turner Photography.
![Photograph of a light-colored wooden sculpture composed of panels that are bent into the shape of a conch shell. Bits of wood extend from the exterior of the shell like a fringe.](https://usa-p-36588810407f.b-cdn.net/d6eb3490-df9d-4bc4-a90b-6ba76804b8c4/croney-moses-allison-sample-1-3.jpg?crop=1200%2C801%2C0%2C0&width=1000)
White Shell by Alison Croney Moses, 2005. Holly veneer, 28 × 18 × 20 inches.
Photo by Mark Johnston
![A rectangular piece comprised of colorful diamond shapes. The background of the image is visually split in two, with the right half of the image patterned yellow and light green and the left half of the image blue and dark green. In the center of the image, the diamond shapes become multi-colored to create the image of a mountain peak with blues, greens, yellows, and pinks.](https://usa-p-36588810407f.b-cdn.net/b2d85d2b-fb41-4df2-8912-d65b3a93aa4f/Nassar,-Jordan-sample-1.jpg?crop=2000%2C1333%2C0%2C0&width=1000)
A Yellow World A Blue Sun by Jordan Nassar, 2020. Hand-embroidered cotton on cotton, dimensions 33.5 × 55 inches.
Photo by Phoebe d'Heurle, courtesy of the artist, James Cohan, New York; Anat Ebgi, Los Angeles; and The Third Line, Dubai.
![A vertical textile strip placed against an off-white canvas. The textile is grey with yellow, blue, white, and red blocks sporadically patterned like an old computer punch card.](https://usa-p-36588810407f.b-cdn.net/fc7094a7-ad19-4342-9ff1-d4687a271884/de-la-paz-jovencio-sample-1-3.jpg?crop=1200%2C1637%2C0%2C0&width=1000)
Bionumeric Organisms 2.0 by Jovencio de la Paz, 2021. Handwoven TC2 textile and canvas, cotton, dimensions 36 × 24 inches.
Photo courtesy of the artist.
![The Pleasure Project by luciana achugar thumbnail](https://usa-p-36588810407f.b-cdn.net/f35fb0c4-e53e-461f-bed8-7623dcd47545/ThePleasureProjectbylucianaachugarthumbnail.png?crop=2880%2C1620%2C0%2C2&width=1000)
The Pleasure Project by luciana achugar, 2014.
Video courtesy of the artist.
![An abstract grey stone sculpture resembling a bird with a beaked head, long neck, oblong triangular body, and two-cylinder shaped legs. The sculpture stands on a circular pedestal that is covered in jagged ceramic shards.](https://usa-p-36588810407f.b-cdn.net/c2efbe4e-913a-484d-abd2-faf5ccb262ea/bey-sharif2-4.jpeg?crop=1200%2C1803%2C0%2C0&width=1000)
Ceremonial Vessel #1 by Sharif Bey, 2016. Earthenware and mixed media, dimensions 17 × 10 × 10 inches.
Photo by Nathan J. Shaulis.
![<em>EVENSONG</em> by JJJJJerome Ellis thumbnail.](https://usa-p-36588810407f.b-cdn.net/37a02b18-094f-4a0e-a063-1e01057a0e3c/EVENSONGbyJJJJJeromeEllisthumbnail.png?crop=2880%2C1620%2C0%2C2&width=1000)
EVENSONG by JJJJJerome Ellis, 18 minutes, single-channel video, 2020. Commissioned for 2020 Summer of Music at MacDowell artist residency.
Video courtesy of the artist.