Connect + Collect Talk
Spring/ Summer 2021 Shows
Erin Cluely Gallery - Dallas, TX
April 17 - May 8, 2021
THE ROUND CHAOS curated by Dexter Wimberly
SOCO Gallery - Charlotte, NC
April 28 - June 12, 2021
SUMMER 2021 ARTIST-IN-RESIDENCE EXHIBITION
McColl Center for Art + Innovation - Charlotte, NC
May 20 - August 28, 2021
We Can’t Predict Tomorrow, curated by Amanda Jirón-Murphy
Arlington Art Center - Arlington, VA
June 19 - August 28, 2021
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LINK TO ARTICLE
Words by Jordan Amirkhani:
While Milad is deeply invested in holding meaning in suspension, this does not imply that her art is devoid of shared affinities or community—quite the opposite, in fact. There are many treasures to find and luxuriate upon in these works, which are often made from an archive of past drawings and paintings, an exciting act of transgressive self-appropriation resistant to the tradition of rendering prior works precious and forgotten.
A bounty of art historical references enrich surfaces already pregnant with meaning. While Betye Saar’s object-based dioramas, Cecilia Vicuña’s visual poems dedicated to Chilean ancestors, and Sanford Biggers’ coded freedom quilts come to mind as contemporaries to these mixed-media paintings, the implosion of iconographic systems in the works of Jean-Michel Basquiat resonates the most fiercely. Like Basquiat, Milad’s work displays a radical openness to her environment, her intuitive capacity to find and gather, and her refusal to see signs as detached, empty ciphers.
Just as Basquiat saw the tags and touchstones of Black diasporic history and life under advanced capitalism as a system of codes he could use to navigate the forces of art and commerce, so too does Milad mine the sequence of linguistic proprieties to tell the story of her own experiences. Glitching between English, Arabic, and Spanish words, symbols, slang, and hieroglyphs, Milad’s works give form to living, speaking, and laboring between languages, cultures, and memories that never fully cohere.
Latela Curatorial + Artsy
Link to Exhibition
Turning Blue ~ part DEUX: First debuted Fall 2020, this exhibition promoted turning blue as an action to change pace: slow down, accept, honor & trust. Artwork anchored in space reminds us to do just that.
Link to Exhibition
Measuring the Drapes is an American saying that refers to the change of decor in the White House to reflect the aesthetic of the new administration. As we start 2021, we encourage you to transform your interior decor with artwork by women artists from the Nation's Capital.
Re-Materialize Virtual Tour w/Curator
This video offers viewers a virtual tour of the exhibition "Re-materialize" at the University of Pennsylvania's Arthur Ross Gallery. "Re-materialize" focuses on four artists who use recycled or repurposed materials: El Anatsui, Shari Mendelson, Jackie Milad, and Alison Saar. The exhibition is curated by Heather Moqtaderi, Assistant Director and Curator for the Arthur Ross Gallery. "Re-materialize" was on view in Fall 2020. Video edited by Reese Berman.
01:37 El Anatsui
06:27 Jackie Milad
10:06 Alison Saar
14:23 Shari Mendelson
Best Baltimore Exhibitions of 2020
Upcoming BmoreArt Magazine Feature
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Creative Mornings/Baltimore Talk on the theme RADICAL
Arthur Ross Gallery at the University of Pennsylvania
September 19 – December 20, 2020
"The exhibition Re-materialize features artists who have built their practices using materials sourced from discarded packaging, personal items, and architectural elements. Works by the Ghanaian-Nigerian artist El Anatsui reflect his career-long interest in the changeability of material culture and the unfixed nature of art. Brooklyn-based sculptor Shari Mendelson creates vessels that glow with the delicate iridescence of glass artifacts from the ancient world, despite the fact that they are made from discarded plastic bottles. Recent pieces by the California-based artist Alison Saar narrate the neglected history of Southern black communities through experimental printmaking on vintage textile fragments and handkerchiefs. Jackie Milad, a Baltimore-based artist, incorporates elements from earlier works and found graphics into collaged canvases richly laden with symbols relating to her Egyptian and Honduran heritage." Taken from their website
220 South 34th Street · Philadelphia, PA 19104
Mothering in a World Turned Upside Down
Brentwood Arts Exchange
September 8 - October 31, 2020
Three-person exhibition featuring the work of Amy Hughes Braden, Roxana Geffen and Jackie Milad, curated by Laura Roulet.
3901 Rhode Island Ave, Brentwood, MD 20722
JULY 16 - SEPTEMBER 26, 2020
VIRTUAL EXHIBITION LAUNCH: Thursday, July 23rd
Chul Hyun Ahn, Zoë Charlton, Alfonso Fernandez, Carol Miller Frost, Carol Brown Goldberg, Jae Ko, Dimitra Lazaridou, Ben Marcin, Rania Matar, Beverly McIver, Jackie Milad, John Ruppert, Nora Sturges, John Waters
It Means Desert, Desert
Solo exhibition of new works on canvas and video works
Julio Fine Arts Gallery
Loyola University Maryland
February 14 - March 14, 2020
This project was supported by a 2019 Rubys Artist Grant, which is a program of the Robert W. Deutsch Foundation. https://www.rwdfoundation.org
Painting Is Its Own Country
Harvey B. Gantt Center for African-American Arts + Culture
Group exhibition curated by Dexter Wimberly
November 2, 2019 – May 3, 2020
Opening Reception November 2, 6-8pm
551 S Tryon St.
Charlotte, NC 28202
Langer Over Dickie: Artist-run and curated by KT Duffy and Ali Seradge
October 26 - November 26, 2019
Opening Reception October 26th, 6-8pm
1309 N Leavitt St.
CHAOS COMES AND GOES
September 26 - November 2, 2019
Opening Reception Thursday, September 26, 6-8pm
523 N. Charles Street
Baltimore, Maryland 21201
Shades Collective Feature
Jackie Milad on Collaborating with her Son, Questioning the Value of Art, and Navigating her Egyptian and Honduran Culture
Sondheim Finalist Mini Reviews
"The prevalent stripes, triangles, rectangles, and loops within Jackie Milad’s larger works feel like they might lift themselves off the canvas when you’re not looking, hopping over to the other ones to acclimate to a new environment. In one piece, a few simple gestures like thick, black painted stripes read as a familiar and basic pattern, an emphatic, formal device meant to direct your focus like a map through dense foliage. In another, an even pattern of black and gold stripes take on larger cultural significance, along with the imprecise and inverted pyramids, triangle-voids, rectangle-bricks, glowering eyes, and winding snakes abounding in Milad’s surfaces.
That marks and symbols could have a life of their own—that their meanings are always debatable, depending on variables like viewer and context—is what Milad is getting at in these large, visually complicated works. Disrupting the expectation of an artist’s precious archive, Milad selects parts of her own previous works to collage into new ones, drawing and painting over them, reassigning the meaning and value of “finished” pieces. This way of working adds another layer to Milad’s continuously recombinant exploration of her identity, especially of her Egyptian and Honduran heritage, giving herself freedom to invent an ever-evolving personal language, archive, and symbology.
The resulting works, big enough to get lost in momentarily, feel alive and inscrutable as a whole, which is just fine and good and healthy, because once you think you know something, you project all your shit onto it. Milad also injects a few warning cues about that to viewers. In “Eres Mucho,” a “fuck you” middle finger turns into a slinky snake; in “Chaos Eyes,” an angry clash of brush strokes spell out “FUCK IT”—these could be read as frustrated refusals to be located, named, catalogued, isolated. The only things that seem set firmly in place within these unhemmed and unstretched canvases are their edges, stringy and frayed as they are, but coagulated with a gold-painted “frame” which will keep them from unraveling, for a little while at least." (Rebekah Kirkman)
The Baltimore Office of Promotion & The Arts (BOPA) announces the finalists for the 14th annual Janet & Walter Sondheim Artscape Prize. The finalists are Negar Ahkami, Akea Brionne Brown, Cheeny Celebrado-Royer, Schroeder Cherry, Phylicia Ghee, Jackie Milad and Stephanie Williams. The competition awards a $25,000 fellowship to assist in furthering the career of a visual artist or visual artist collaborators living and working in the Baltimore-Washington metropolitan area. Each finalist not selected for the fellowship is presented with an M&T Bank Finalist Award of $2,500.
Finalists exhibit at the Walters Art Museum, located at 600 N. Charles St., on Saturday, June 15–Sunday, August 11, 2019. The winner is announced at an award ceremony and reception on Saturday, July 13, 2019 at 7pm at the Walters. (Galleries open at 10am.) The exhibition and ceremony are free open to the public. The 2019 jurors are Laylah Ali, Regine Basha and William Powhida.
(image taken from BmoreArt.com)
The Thing is Close
School 33 Art Center - Baltimore, Maryland
08/31/2018 - 09/29/2018
Works by Cindy Cheng and Jackie Milad
“The Thing is Close” exhibits the pairing of prolific Baltimore-based artists Cindy Cheng and Jackie Milad. Cheng creates complex sculptural constructions and installations that draw reference from the carefully choreographed rooms of her parents’ house in Hong Kong. Her work invokes a highly formal language to ponder the importance of objects and their ‘beneficial’ placements in the Chinese home. Gesturing toward physical spaces she has inhabited, as well as objects and things she has lived around and through, these works serve as incubators that reflect on the physical and abstract self, as well as Cheng’s own personal history and memory. Jackie Milad’s works on paper present the complexities of identity-making for people of mixed-race and ethnic backgrounds. Her work constructs a new visual language—a mash-up of actual and invented symbols associated with her Egyptian and Honduran immigrant background and family history. Combining drawing processes collaged with the cut pieces of older finished works, Milad tears away at preciousness of history to reveal another story—one that is not fixed, and yet uniquely her own.
Isla: Regarding Paradise
Towson University, Center for the Arts - Towson, Maryland
Friday, September 7— Saturday, October 20, 2018
Guest Curator Jackie Milad explores the theme of “paradise” and what lies beyond the typical postcard representations of Puerto Rico and the Dominican Republic, examining these nations as complex societies struggling to assert economic independence, political autonomy, and environmental justice. An insatiable desire to conquer and own the utopic dream of paradise is an enduring theme throughout history and one that is examined and critiqued by artists in this exhibition. The exhibition includes photography, sculpture, installation, mixed media, and video. Artists: Rafael Vargas Bernard, Allora & Calzadilla, Héctor Arce Espasas, Pablo Guardiola, Alejandro Guzman, Monica Rodriguez Medina, Joiri Minaya, Raquel Paiewonsky, Eric Rivera, Anabel Vázquez Rodriguez, Gabriela Salazar, Edward Victor Sanchez, and Edra Soto. A catalog will be available for purchase
City Paper Review
Bmore Art Review
Pyramids Fall Too
July 9 - August 6, 2016
Opening Reception Saturday, July 9th, 2016 7-10pm