Folasade Ologundudu
Folasade Ologundudu is a writer, podcast host/creator, and multidisciplinary artist whose work explores issues of identity, race, and culture as it pertains to art, fashion, and design. She is the founder of Light Work, a creative platform rooted at the intersection of art, education, and culture.
Eyes of the Skin
By Folasade OlogunduduHere, each artist explores tactile experiences through bodily memory, engaging in a decidedly introspective practice.
Dominic Chambers: Soft Shadows
By Folasade OlogunduduFor his first solo exhibition with Lehmann Maupin, Soft Shadows, Dominic Chambers showcases four autobiographical life-sized paintings.
Kennedy Yanko: Postcapitalist Desire
By Folasade OlogunduduIn the historic landmark townhouse housing Tilton Gallery on New York City’s Upper East Side, Kennedy Yanko presents her latest exhibition and first solo show with the gallery, Postcapitalist Desire.
Onyedika Chuke: The Forever Museum Archive_Circa 6000BCE
By Folasade OlogunduduIn The Forever Museum Archive_Circa 6000BCE Onyedika Chuke presents new iterations from his decade-long ever-expanding body of work, The Forever Museum Archive. The archive includes an assortment of art and non-art objects, hand-made sculptures, texts, and moving images.
Karon Davis: No Good Deed Goes Unpunished
By Folasade OlogunduduWith a cornerstone of the party’s politics on full display, Davis brings our focus to the grassroots community organizing Seale and the Black Panthers were known for. Half a century later, lies perpetuated by the US government still surround the activist organization whose free breakfast programs fed school children in dozens of cities across America. In her newest work, Davis sets the record straight.
Adam Pendleton: Who is Queen?
By Folasade OlogunduduStand still and direct your gaze three stories up into the MoMA’s Marron Family Atrium and prepare to be arrested by the motif of black-and-white in Adam Pendleton’s Who is Queen? The work, monumental in scale, with its three soaring scaffold sculptures, taking up the height of the 60-foot atrium, is his most “autobiographical” to date and considers history not as fixed or static, but rather continuous, alive, and ever-evolving in real time.
