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I’m in the midst of taking another screenprinting class at @newimprintstudio but also taking a printmaking class working with found materials at @cambridgecenter. Both classes have opened up possibilities for projects that I’ve had in my head for a while but didn’t exactly know how to execute. Besides having fun, and making a lot of mistakes, it’s been a godsend for reminding me why I have to keep doing PT for my shoulder and getting to the gym. I have to persevere if I have any chance of regaining my confidence in the studio.

This afternoon at 1pm we are live-streaming “Exhibiting Art from the French- and Creole/Kreyol-Speaking Caribbean and Amazonia: Sociological, Historical, Art Historical, and Museological Perspectives” - a two-day symposium we are launching in anticipation of the Alain Locke Gallery’s fall exhibition opening on September 22. The exhibition’s guest curator is Claire Tancons who has selected contemporary artists from Haiti, Guadeloupe, Martinique and French Guiana.

The symposium is organized by Cécile Fromont (Harvard) and Audrey Célestine (NYU) and the speakers include Claire Tancons, Tao Leigh Goffe, Denise Murrell, Justin Brown, Marina Kliger, and Cédrine Scheidig among others. The talks are free and open to the public. You can also check out the livestream on our YouTube channel: youtube.com/hutchinscenter.

Image credit: Gwladys Gambie, Anatomie du sensible #14, 2020

Repost from @cadvc_umbc
Center for Art, Design, and Visual Culture (CADVC) at the University of Maryland, Baltimore County: Last fall @rku_views, director of CADVC, invited me to not only perform with #mariamagdalenacampospons but to also contribute a short essay for the digital guide which commemorates the December 5th, 2025 performance, “Vignettes in 3 Sessions: An Immersive Ancestral Experience” with KaMag (María Magdalena Campos–Pons and Kamaal Malak) in the CADVC gallery, and the presentation of “I am Soil – My Tears Are Water” (2025) as part of CADVC’s public art projection series.
The performance of “Vignettes in 3 Sessions” transformed CADVC gallery into a a multi-media, multi-sensory sanctuary combining spoken word, live music, sound design, and other sensorial experiences in an intimate, participatory format. This multimedia publication gathers multiple points of entry into that experience, with additional essays by @tatigrams and Maleke Glee.

The digital publication is alt-text embedded and available to the public as a free, open-access resource.

Thanks to performance supporters @artsatumbc, the UMBC Arts+ initiative, @circa_umbc, and @umbc_cahss, as well as fellow performers M’Balou Camara, Tibetan Buddhist practitioners Xiaoming Zhang and Lawrence Galea, event producer Zak Gutzwiler, photographer Tedd Henn, and many others. Special thanks to designer Gwen Knott and CADVC Graduate Assistant Elle Jones for their efforts on the publication. And, above all, thanks to KaMag for the opportunity to perform with them last year. ❤️

Check out the digital guide by visiting https://cadvc.umbc.edu/multimedia-publication/vignettes-in-3-sessions-kamag-at-cadvc-digital-publication/

@cadvc_umbc @maria_magdelena_campos_pons @kamaalmalak @umbc_cahss @artsatumbc @umbclife @umbccampuslife @umbcalumni @circa_umbc @MDArtsCouncil @teddhenn #ArtsatUMBC #cadvc #umbc #umbclife #arts #research #umbcretrievers #umbcalumni #baltimore #MDArtsCouncil

Between doing deep dives on the Black printmakers featured in “Renaissance, Race, Representation in the Harmon & Harriet Kelley Collection of African American Art” in our current exhibition at the @lockegalleryhc_harvard, our upcoming fall exhibition on French Caribbean contemporary art, and my own studio projects, my office has turned into a what I’m calling a zone of discursive chaos. My brain is overloaded with info (in a very good way)! Here’s just a handful of the titles I’m working through right now: the catalogue from the fantastic “Say It Loud: AAMARP, 1977 to Now” curated by @jeffreydeblois, as well as “The New Negro: A History in Documents, 1887-1937” by @henrylouisgates and Martha H. Patterson, “To Conserve a Legacy: American Art from Historically Black Colleges and Universities” edited by Richard Powell and Jock Reynolds, “A Camera in the Garden of Eden: The Self-Forging of a Banana Republic” by Kevin Coleman, “Colonialism & Resistance in Belize: Essays in Historical Sociology” by O. Nigel Bolland, and just received today “Who We Art: 30 Years of Haitian Art in New England” edited by Charlot Lucien which features a round up of artists from the Haitian Artist Assembly of Massachusetts…truly an embarrassment of intellectual richness for me to absorb and think about.

Repost from @hutchinscenter
Tonight at the @thehiphoparchive (Hutchins Center, 104 Mount Auburn Street, Floor 2R) with @debwillisphoto and @sarahelizabethlewis1 in conversation, with a reception following @lockegalleryhc_harvard. The 25th anniversary of Deborah Willis’s fantastic book, “Reflections in Black: A History of Black Photographers 1840 to the Present.” The first 50 guests will receive a special gift, courtesy of @harvard_arts #ArtsThursdays and the Hutchins Center

I’m still not 100% after rotator cuff surgery last year so I feel like I’m re-learning how to work small again. I’m also taking a really fun screenprinting class at @newimprintstudio. Can’t tell you how good it has been to get my hands dirty again. 🙌🏾

I’m still not 100% after rotator cuff surgery last year so I feel like I’m re-learning how to work small again. I’m also taking a really fun screenprinting class at @newimprintstudio. Can’t tell you how good it has been to get my hands dirty again. 🙌🏾

Repost from @brandeis_postbacc
I’m so grateful to be where I am - almost 13 months post rotator cuff surgery, and slowly but surely getting stronger. Hugely excited to meet with Brandeis students in April!

The Brandeis Post-Baccalaureate Studio Art Program welcomes visiting artist Dell Marie Hamilton to the Brandeis Post-Baccalaureate Studio Art program on April 17! Dell’s work spans painting, drawing, sculpture, video, photography, and performance, and she currently serves as interim director of Harvard’s Alain Locke Gallery. Students will have the opportunity to meet with her in studio visits, followed by an artist talk free & open to the public at 2:30pm!

Dell Marie Hamilton’s expansive multi-media practice includes curatorial projects as well as painting, drawing, sculpture, video, and photography. She is also particularly known for her work in performance art, which has been featured at the MFA/Boston, the Clark Art Institute, and the Hood Museum of Art at Dartmouth College. In 2019, she was a participating artist in the “Ríos Intermitentes” exhibition curated by Maria Magdalena Campos-Pons for the Havana Biennial. In 2021, she was also a recipient of the ICA/Boston’s James and Audrey Foster Prize. Her work has appeared in The Brooklyn Rail, The Boston Globe, Hyperallergic, Art in America, NKA: Contemporary Journal of African Art, and, most recently, in Kimberly Juanita Brown’s latest book, Black Elegies: Meditations on the Art of Mourning (MIT Press, 2025). Her work has also been featured in the 2024 documentary film Out of the Picture, written and directed by @marylouises, which chronicles the last decade of contemporary art practice and its profound impact on art criticism and the changing media landscape. In 2024, she also received a Dean’s Distinction Award for outstanding contributions to Harvard’s Faculty of Arts and Sciences and is currently the acting director of the Alain Locke Gallery at Harvard’s Hutchins Center for African and African American Research. Her work is also in the collections of Google, Tufts University, and the MIT List Visual Art Center.

Tune in this afternoon at 2pm when I will be on the @thecultureshowgbh with @thejaredbowen to talk about our current exhibition in the @lockegalleryhc_harvard “Renaissance, Race & Representation in the Harmon & Harriet Kelley Collection of African American Art” on view through June 6 and featuring works on paper from Elizabeth Catlett, Romare Bearden, Charles White, John Wilson, Jacob Lawrence and many others. I’ll be doing monthly curator tours at 3pm on February 19, March 26, April 16, May 14 and June 4. #lockegallery #hutchinscenterharvard

Repost from @transitionmag_hu
Cambridge peeps! Tonight
Come out for TRANSITION’S Sudan Teach-in and Benefit for Mutual Aid Sudan Coalition on Feb. 12 (6-8) at the Cambridge Main Public Library. Free issues on site.

Poster Image by Amel Bashier. The Guardian, 2025. Acrylic and ink on canvas.

I found myself rewatching Bad Bunny’s joyful and powerful halftime performance today. While I enjoyed many of the references, my brain always wants more….
#askandyoushallreceive - These two books came across my timeline. “Sugar, Slavery & Freedom in 19th Century Puerto Rico” by Luis A. Figueroa and “Puerto Rico: A National History” by Jorell Meléndez-Badillo, who apparently wrote narrative context for Bad Bunny’s videos on social media. I’m also going to point folx to the
badbunnysyllabus.com organized by scholars Vanessa Diaz and Petra Rivera-Rideau. #badbunnyhalftime #badbunnysyllabus

I found myself rewatching Bad Bunny’s joyful and powerful halftime performance today. While I enjoyed many of the references, my brain always wants more….
#askandyoushallreceive - These two books came across my timeline. “Sugar, Slavery & Freedom in 19th Century Puerto Rico” by Luis A. Figueroa and “Puerto Rico: A National History” by Jorell Meléndez-Badillo, who apparently wrote narrative context for Bad Bunny’s videos on social media. I’m also going to point folx to the
badbunnysyllabus.com organized by scholars Vanessa Diaz and Petra Rivera-Rideau. #badbunnyhalftime #badbunnysyllabus

I’m thrilled to announce that “Renaissance, Race & Representation in the Harmon & Harriet Kelley Collection of African American Art” at the @lockegalleryhc_harvard is being extended through June 6, 2026. The show features works on paper from the private collection of Harmon and Harriet Kelley, two Black collectors who began collecting art in the late 1980s. For this presentation, we have also placed the Kelley collection in conversation with selections from the Hutchins Center’s permanent collection, highlighting artists who were active at the turn of the 20th century and during the Harlem Renaissance. In the years that followed, many of these artists were hired by the WPA’s Federal Art Project (1935-1943), which established community art centers with print shops that fostered thriving spaces for experimentation and collaboration. The exhibition is a significant opportunity to view prints by Romare Bearden, Robert Blackburn, Hale Woodruff, Charles White, John Wilson, Lois Mailou Jones, William H. Johnson, Jacob Lawrence, Norman Lewis, and Elizabeth Catlett, among others.

I’m also excited to announce that I’ll be conducting curator tours of the show at 3pm on the following days: February 19, March 26, April 16, May 14 and June 4. Tours are limited to 25 people. To RSVP for a tour, please email the Alain Locke Gallery at lockegallery@fas.harvard.edu. See you soon!

Very important resource to assist Minnesotans who are standing up and resisting against the terrorism of ICE. Many thanks to @ziibiing for creating it and getting the word out. And shout-to residents and activists who are out in the streets braving the bitter cold. You are absolute heroes in a world that is replete with cynicism and cowardice ✊🏾✊🏾#standwithminnesota