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Sadie Barnette's SADIE BARNETTE PORTFOLIO ).'82/+0'3+9-'22+8? SADIE BARNETTE BIO / STATEMENT Whether in the form of drawing, photography or large-scale installation, Sadie Barnette’s (b. 1984, Oakland, CA) work relishes in the abstraction of city space and the transcendence of the mundane to the imaginative. She creates visual compositions that engage a hybrid aesthetic of minimalism and density, using text, glitter, family Polaroids, subculture codes and found objects. Recent works engage as primary source material the 500-page FBI surveillance file kept on her father, Rodney Barnette, who founded the Compton, California, chapter of the Black Panther Party in 1968. In the artist’s hands these repressive documents are reclaimed — splashed with pink spray paint and adorned with crystals — in an intergenerational assertion of the power of the personal as political. Barnette’s work deals in the currency of the real, in earthly acts of celebration and resistance, but is also tethered to the other-worldly, a speculative fiction, a galactic escape. As the artist says, “This is abstraction in service of everyday magic and survival in America.” Sadie Barnette is from Oakland, California. She earned a BFA from CalArts and an MFA from the University of California, San Diego. Her work has been exhibited throughout the United States and internationally and is in the permanent collections of museums such as LACMA, Berkeley Art Museum, the California African American Museum, the Cornell Fine Arts Museum, the Pérez Art Museum, Studio Museum in Harlem (where she was also Artist-in-Residence), Brooklyn Museum and the Guggenheim. She is the recipient of Art Matters and Artadia awards and has been featured in publications such as The New York Times, The Los Angeles Times, Artforum, and Vogue. She lives in Oakland, CA and is represented by Charlie James Gallery in Los Angeles. In Plain Sight SADIE BARNETTE at Henry Art Gallery 2020 Installation at Henry Art Gallery, 2020 The group exhibition In Plain Sight engages artists whose work addresses narratives, communities, and histories that are typically hidden or invisible in our public space (both conceptually and literally defined). The presenting artists approach the exhibition’s theme from a range of directions, varying across all media as well as aesthetic and conceptual contexts. Works encompass deliberately activist endeavors and direct documentation; the unpacking of individual histories excluded due to race, ethnicity, or class; explorations of coded language for protection, secrecy, or both; the illumination of invisible or covert systems of labor, exploitation, and capitalist control; and translation through surreal, oblique, or fantastical frameworks. In Plain Sight SADIE BARNETTE at Henry Art Gallery 2020 Installation at Henry Art Gallery, 2020 Collective Constellation: Selections SADIE BARNETTE from The Eileen Harris Norton Collection at Art + Practice 2020 Installation at Art + Practice, 2020 Sadie Barnette’s work is exhibited in Collective Constellation, which features a selection of artworks by women of color from the personal art collection of philanthropist, art collector and Art + Practice co-founder, Eileen Harris Norton. The exhibition extends into the A+P Project Room with an interactive installation entitled FAMILY STYLE by Sadie Barnette. Collective Constellation: Selections SADIE BARNETTE from The Eileen Harris Norton Collection at Art + Practice 2020 Installation at Art + Practice, 2020 The New Eagle Creek Saloon SADIE BARNETTE at the ICA LA / The Lab 2019 Sadie Barnette’s installation reimagines her father’s bar – the first black-owned gay bar in San Francisco. From 1990-93 Rodney Barnette operated the New Eagle Creek Saloon, a family-run business which served a multiracial gay community marginalized by the racist profiling practices of San Francisco’s bar scene at that time. Sadie Barnette’s project is two-fold: to re-present The New Eagle Creek Saloon as an archival installation via her own vernacular aesthetic, and to host a “bar” and queer social space where everyone is invited to participate in ongoing acts of resistance, celebration, activism, and community building. Installation at the Lab 2019 The New Eagle Creek Saloon SADIE BARNETTE at the ICA LA / The Lab 2019 Installation at the ICA LA 2019 California Artists SADIE BARNETTE at Marciano Art Foundation 2019 Installation at Marciano Art Foundation 2019 California Artists SADIE BARNETTE at Marciano Art Foundation 2019 Installation at Marciano Art Foundation 2019 The Armory Show SADIE BARNETTE 2019 Installation at the Armory Show 2019 The Armory Show and Athena Art Finance Corp. awarded Charlie James Gallery the third annual Presents Booth Prize for its exemplary presentation of works by Sadie Barnette. The Armory Show SADIE BARNETTE 2019 Installation at the Armory Show 2019 PHONE HOME at SADIE BARNETTE Museum of African Diaspora (MoAD) 2019 Installation at Museum of African Diaspora (MoAD) 2019 Glittering in gold and platinum, the work of Sadie Barnette illuminates relics of a past deeply rooted in West Coast aesthetics and politics. A former artist in residence at the Studio Museum in Harlem, Barnette presents this installation as an example of a continuous exchange between two centers of Black artistic production. Sculptural speakers, “candy-coated” in holographic car paint, act as both shield and beacon, as the inflection of prismatic light envelops vestiges of her childhood in the Bay Area. With bejeweled offerings of Black power politics and celestial revelry, PHONE HOME provides a refuge for those seeking moments of comfort in the reflection of their own light. PHONE HOME at SADIE BARNETTE Museum of African Diaspora (MoAD) 2019 Installation at Museum of African Diaspora (MoAD) 2019 PHONE HOME at SADIE BARNETTE Museum of African Diaspora (MoAD) 2019 Installation at Museum of African Diaspora (MoAD) 2019 Black Sky at SADIE BARNETTE Charlie James Gallery 2018 For her second solo show at CJG titled BLACK SKY, Sadie Barnette presented a combination of objects and installation across two floors of the gallery space. Barnette continued to explore and reappropriate her family history, using elements of her father’s FBI file as well as rephotographed photographic images. In the gallery’s basement project space Barnette created an immersive installation that conflates domestic space with an imagined, futuristic space. Black Sky at SADIE BARNETTE Charlie James Gallery 2018 Installation at Charlie James Gallery 2018 Black Sky at SADIE BARNETTE Charlie James Gallery 2018 Installation at Charlie James Gallery 2018 Sadie Barnette CHARLIE JAMES GALLERY In Sadie Barnette’s photographic collage Untitled (Pink Diamond/ Jump), 2016, the gleaming facets of a pink diamond adjoin the upper torso of a young black girl playing in a bounce house. Part of the artist’s recent solo presentation, evocatively titled “Black Sky,” this image contains references to stereotypical girl culture and class aspiration, both of which were consistently and vibrantly invoked throughout Barnette’s expansive, multiroom installation. The upper gallery featured paintings, photographs, collages, and light boxes, while the lower space, set up to function as a living room or den, complete with an iridescent couch, was drenched in hot-pink paint and carpeting. View of Sadie Barnette, 2018. All works untitled, 2018. The work was hung within the salon-style arrangement of the lower space, and pink version of Untitled (From Here) as a literal background for a combination of objects thus assumed a familiarity and informality. In conjoining the photographs of the installed on a pink shelf: two gold-glit- ter-encrusted crushed beer cans, a floral baseball gemstone and the girl (could it be Barnette?), the artist offered the old saw of cap embroidered with the word compton in black letter font, and an Oakland Raiders abstraction versus representation, but also revealed the ways in which each is souvenir glass. That Compton and Oakland—two California cities with significant black bound up with the other. The pink diamond is both an accessory marketed to young populations, each of which Barnette lists as her domicile—are separated by more than three girls within heteronormative culture and an extension of the overt gen- dering that hundred fifty miles further attenuates the seeming straightforwardness of the assemblage. begins (increasingly, annoyingly) with “gender reveal” parties. This is Barnette’s wheelhouse, as she has a particular gift for getting into the rough with “girl culture,” Home as a place of safety and intrusion served as another key theme throughout Barnette’s both adoring its dazzling properties and critiquing its pernicious effects. But the show. In one evocative installa- tion, a gilded mirror was hung on top of a piece of halving of the otherwise joyous figure, frozen in midair, disturbed any poten- tial for crinkly gold paper (in a playfully tacky doubling of reflective material) and placed kitty- this work to be read as a representation of an uncomplicated childhood utopia. corner to a photograph of a young Barnette wearing sunglasses and holding a pink bear, her hair gathered into a glorious side pony. Two stickers of cars were placed above her Building on these themes and on the geometry of the alluring facets, matrices of shoulders, as if mechanical familiars. In this photograph, which could be viewed straight various kinds recurred in the exhibition, suggesting at times unity or obstruction. on or via the mirror, Barnette appeared to be at ease, performing a child’s version of cool. One of the most entrancing examples was Untitled (Fence), 2018, a black-and-white Though a seemingly minor arrangement within the scope of the installation, this pairing photograph of the whirling shadows cast by a chain-link fence onto the industrial strategically deployed the oppos- ing effects of reflectivity and opacity—by means of privacy screen covering it. Barnette carefully placed multicolor Swarovski crystals the looking glass and the aloof sunglasses—to bolster a larger argument about home as a at the intersections of the chain links.
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