RASHAAD NEWSOME STOP PLAYING in MY FACE! Is Dedicated to Jewly Gainey

RASHAAD NEWSOME RASHAAD RASHAAD NEWSOME

STOP PLAYING IN MY FACE! RASHAAD NEWSOME STOP PLAYING IN MY FACE! is dedicated to Jewly Gainey

This catalogue was published on the occasion of Rashaad Newsome’s solo exhibition STOP PLAYING IN MY FACE!, on view at De Buck Gallery from April 21 - June 25, 2016

TEXT Darnell L. Moore, Jasmine Wahi

PHOTOGRAPHY Bill Orcutt

DESIGN Jennifer Wolf

PRINTING Albe De Coker, Antwerp

GALLERY

David De Buck: [email protected] Kathryn Mc Sweeney: [email protected] +1.212.255.5735 www.debuckgallery.com

De Buck Gallery is at complete disposal to whom might be related to the unidentifed sources printed in this book

ISBN 978-0-9851748-0-4

STOP PLAYING IN MY FACE!

RASHAAD NEWSOME

THIS IS MY WORK...IT’S NOT TO BE PLAYED WITH DARNELL L. MOORE

I wish y’all really stop fucking playing in my face. If you cannot fucking paint, get the fuck outta my fucking face…You see how I fucking painted myself, bitch? This is my work…And its just so fucking…it’s not to be played with. — Samantha James

This is my work.

In the epigraph, Samantha James, a popular social media personality, summons indignant courage in her self-produced YouTube clip. In the video, James literally turns the gaze away from self and in the direction of the powers that render her an object to be “painted” by the less adroit hands of others and unequivocally asks, “You see how I fucking painted myself, bitch?”

To own one’s work — whether such labor exists in the form of one’s ability to craft an unconstrained self with precision or the skill to use russet colored powder on a chocolate brown face as if it were the canvas of a gestural painting — is no triv- ial exercise for trans women of color like James. Because the art of being and the work of molding self-representations, as she reminds us, is “not to be played with.”

It takes dexterity to survive in a society that is largely antagonistic to transgressive black and brown bodies resistant to various forms of control. The bodies and representations — the almost supernatural forms of being and surviving — created and employed by trans women of color are material results of their agential power.

James’ use of the subjective “I” is meant to remind her audience that trans women of color are the objects of their own creation. And those who try to paint and adorn the elements black and brown trans women have mastered in the form of self-created images tend to fall short.

Rashaad Newsome’s STOP PLAYING IN MY FACE! conjures the unrestrained spirit that enfames James’ words. His work combines still life, portraiture, heraldry, abstraction and collage to explore and body forth works shaped by a leitmotif that connects notions of contravention, self-formation, interrogation, and agency. Form(ation) and Representations

There’s a breach in our collective understanding of trans identities. The experiences of trans people represent a project of evasion and detonation. Socially constructed categories of gender and sexualities are transgressed. In this way, transness represents a radical departure from norms. It is contemplative deviance. But transness is also a form of architecture. Lives are reimagined. Selves are built. Bodies are constructed.

STOP PLAYING IN MY FACE! plays to the theme of baroque architecture. Newsome explores the limits of trans femme representations via visual art and tests the use of the collage as a form through which such representations might ma- terialize.

Connecting the otherwise disparate materials he pulls from magazines made for urban audiences, Newsome interro- gates the elements that representations of trans femmes of color tend to be made of: the stuff of a global neoliberal capitalist market that centers on supremacist ideas of whiteness or the images that are commercialized to appeal to the cishetero male gaze.

Thus, the work invites us to consider if black and brown trans women’s self-representations — even the most alluring and deviant — are too shaped by the force of what bell hooks, the well-known black feminist cultural critic, has termed white supremacist capitalist patriarchy? And if they are, how are such forces detonated?

The imaginaries that give life to architecture and the forces necessary to construct or annihilate representations are frames that seem to shape Newsome’s thesis in STOP PLAYING IN MY FACE! The more obvious architectural references hinted at in the work pay homage to sites like Rome’s Sant’Andrea della Valle, Barcelona’s Santa Maria del Mar and the Szeged Synagogue in Hungary. But less obvious are the tensions between an appeal to design styles that connote both decadence and world-weariness.

YAAAAAAAS!, for example, is a depiction whose focal elements are full lips covered with a glossy rubicund lipstick sur- rounded by a confguration of found images of bedazzled bling that are composed into elements of a femme face. Like the other pieces in this series, Newsome also ‘paints the face’ with stylized eyes cut from fashion magazines reminding the viewer of the ever-present misogynist gaze. The piece is tamed, though, by the placement of a gold-plated dome positioned as a head. Here is an example where symbols of worldly indulgence collude with those of otherworldly tran- scendence. To Newsome, there seems to be no separation between the two.

The work also seems to riff on fn de siècle signaling the loss of what was and the embrace of the new. But it is a move that is also indicative of the power of trans expressiveness, that is, the black and brown trans woman’s ability to entomb or, even, raze a past so as to create space to build new futures.

The collage functions as Newsome’s architectural medium. Through the form, he explodes categories of being and raises questions about what images and objects — images and objects that may or may not be signifers of dehumanization abounding within popular culture — one can actually use or cull to suture a representation. His pulling together of found images used to construct a body of work is analogous to the process one must go through to construct a self. What parts do we rid? And which do we seek to create? Newsome’s oeuvre is more than the work of visual and expressive arts; it is an ontological project.

Shapeshifting

We exist in a society that centers the experiences of cisgender people as the default social location through which we view the world — the optic through which we read the bodies of the people inhabiting the myopic world we imagine.

Art is a type of cultural production that can’t escape the force of the gaze. It too can be violent to those whom the artist refuses to imagine as even existing. And it can also be the site through which new formations can be developed. STOP PLAYING IN MY FACE! is what can transpire when the artist expands their optics.

Newsome’s exhibition is comprised of works shifting images and repurposing them. In search of a feminist ethos outside academe, he searched for visual texts in places where the prevailing structures of white racial supremacy, capitalism and patriarchy shapes standards of beauty and, ultimately, limits the agential potential of women subjects/consumers/ objects, especially those who might identify as trans women of color.

His visual works are also placed in conversation with an auditory text — a soundtrack composed of quotable statements from several variably-identifed feminists — produced to draw attention to the different forms of tension his work explores.

But Newsome also returns to the ballroom scene — a counter cultural black trans and queer space his work tends to traffc in. The popularized vogue femme elements in many ways give shape to his work as well as the expressive culture he draws from to shape singular works like BAAAAAAAM! and COY among others.

The positioning of legs in both works give the viewer the impression the body is in motion as it masters foor performance, one of the elements of vogue. This work is about shifting bodies. But the exhibition also includes a video installation that is organized around simultaneously looped cameos of Amazon Mother Leiomy Maldonado, widely known outside of the ballroom community as a cultural icon, sharing the fve elements of vogue, as a visual cue that transgressive trans femme bodies can also shift space.

Black trans scholar and cultural worker, Kai Green, described shapeshifting as “the ability to change oneself.” But he also went on to offer what he foresees as an aim that surfaces as a result of self-actualization and shaping. “I want to have self-determination economically, politically and socially, which for me includes gender self-determination.”

This is what cultural anthropologist Aimee Meredith Cox describes as a “choreography of citizenship” or the various performances it takes to shift discourses and spaces. STOP PLAYING IN MY FACE! is an attempt at both, but it does so by refusing to disremember the bodies central to the projects’ imaginary. Black trans women are centered in the work.

But it is not enough to demonstrate how trans femme representations signify powerlessness. Newsome attempts to center on trans femme agency — even when the limits of one’s agency are tested by various forms of structural oppression.

Even more, the trans experience is more than a process signaling the reconfguration of bodies because the body is not necessarily the locus of trans identity. The body is one structure one might choose to design, but there are other structures that may require detonation. Images of explosions are replete in the work signaling the power of deviant destruc- tion of categories and rubrics that cage subjectivities.

Like the ornate frames Newsome designed to possess some of the works, the artist too must question his grasp — however intricate, however unfxed — on expressions too big for any of our hands. This was Newsome’s challenge. Is it possible for a cis queer male artist to create representations of trans femmes without crushing subjectivities, without caging expression within the gaze of the cis queer onlooker? Can one ever love the body of a trans woman enough to craft representations of it with as much care as she would her own? Or should the artist attend to James’ command and “stop fucking playing in her face” until they learn to get it right?

These are the questions this body of work posits — the queries Newsome’s work attempts to respond to with care for bodies and representations often subjugated. STOP PLAYING IN MY FACE! is a tentative response to the challenge James proposes. He must now await word from trans women of color to determine if he got it right.

Darnell L. Moore is a Senior Correspondent at MicNews, Co-Managing/Editor at The Feminist Wire and writer-in-residence at the Center on African American Religion, Sexual Politics and Social Justice at Columbia University. He has also edited the art book Nicolaus Schmidt: Astor Place, Broadway, New York: A Universe of Hairdressers (Kerber Ver- lag) and has published essays in several edited books. Darnell’s writing and advocacy centers on marginal identity, youth development and other social justice issues in the U.S. and abroad. i. Stop Playing in My Face – Samantha James, video, September 2, 2015, viewed March 23, 2016. https://www.youtube.com/watch?v=xz1nqg2V3oU ii. Moore, Darnell, and Kai Green. “ Darnell L. Moore & Kai M. Green: Conversation in Black.” Guernica: A Magazine of Art & Politics. March 9, 2016. https://www.guernicamag.com/daily/darnell-l-moore-kai-m-green-conversation-iblack/ Accessed on: March 23, 2016. iii. Cox, Aimee M. Shapeshifters: Black Girls and the Choreography of Citizenship. Durham: Duke Press, 2015. Print. “Women of color, queer women, and transgender women need to be better included in the feminist project. Women from these groups have been shamefully abandoned by Capital-F Feminism, time and again. This a hard, painful truth. This is where a lot of people run into resisting feminism, trying to create distance between the movement and where they stand… We don’t all have to believe in the same feminism. Feminism can be pluralistic so long as we respect the different feminisms we carry with us, so long as we give enough of a damn to try and minimize the fractures among us.”

- Ramona Gay, Bad Feminist

“whether we’re talking about race or gender or class, popular culture is where the pedagogy is, it’s where the learning is.”

- bell hooks

TRANSFORM, TRANSGRESS, TRANSCEND: RASHAAD NEWSOME’S INTERSECTIONAL SUBVERSION OF THE CAPITALIST IMPERIALIST WHITE SUPREMACIST PATRIARCHAL STRUCTURE JASMINE WAHI

An Introduction to Rashaad Newsome’s “Trans”-Feminism

Rashaad Newsome is a trans- artist. It’s an intentionally befuddling assertion to make. Does it mean his work explores transgender identity? Does it mean his aesthetic transgresses the western art historical aesthetic? Does it mean that his compositions transcend our heteronormative pedagogical understanding of the world around us?

Put simply, Newsome does all of the above.

Trans- as a prefx- connotes a sense of movement, shift, change, which is a paradigm that Rashaad Newsome is continuously trying to embrace in his work. Newsome seeks change; not only in his work, but in society. He uses his practice, comprised, in part, of subverted images of privilege, to give a voice and agency to those who exist on the intersectional margins- to the voguers, to the transgender feminists, to the cisgender women of color, to the genderfuid people of color, to all of the above. He utilizes his practice, and the agency that his artmaking allows him, as a catalyst to transform the archetypal framework of the white supremacist capitalist patriarchal society (bell hooks). Newsome’s latest body of collage-based work, frst seen in STOP PLAYING IN MY FACE!, at De Buck Gallery, focuses on empowering cisgender and transgender female identifying individuals.

Each piece in the STOP PLAYING IN MY FACE! corpus blooms from seemingly disparate sources that the artist has connect- ed together to create a cohesive, and pluralistically authentic intersectional discourse around feminism, race, economics, and agency. bell hooks and Janet Mock, 17th Century Dutch landscapes, Dadaist Hannah Hoch, internet sensation Samantha “Revlon” James, all play important roles in the realization of this idea. Every tangible object, be it 3-D video or static collage, explores the nuanced complexities of cisgender and transgender female agency, ownership, race, and economics. STOP PLAYING IN MY FACE! is an exhibition that explores the pluralities of intersectional feminism, and piv- ots the conversation that looks at these issues to a conversation from the voices of those living with these issues. All of this is accomplished by Newsome’s longstanding and ever-evolving collage practice.

STOP PLAYING IN MY FACE! presents three ‘modes’ of collage: static collage, as exemplifed by works such as YAAAAAAAS! (2016); animate collage, STOP PLAYING IN MY FACE! (2016); and dialogically ephemeral collage, which is a form of feeting participatory performance in which the audiences dialogic responses to the work are the work itself (ie, the conversations around the work both part of the larger body of work, and also pieces on their own, in spite of their feeting impermanence). These modes of assemblage exist in an ouroborosian or symbiotic relationship, and they continually build upon each other in an expanding conversation about feminism and agency.

The aesthetic entree by which Rashaad Newsome forays into the feminist arena is through an exploration of the female body. The Body, specifcally the [cis, trans, or queer] female body, and even more specifcally the black/brown [cis, trans, queer] female body, has long been the centerfold (pun absolutely intended) in the discordant existence between [cis, trans, queer] women and mainstream society.

Using the female form as a springboard, this essay will explore the three modes of Newsome’s collage work, the materials that inform them, and how they contextualize the conversation about [cis, trans, queer] female agency.

Transgression Through Stasis : The Inanimate Collages

Newsome has been known to mold his collages into shapes that are reminiscent of the ideas and social constructs that he aims to critique. Both the static and animate collages in STOP PLAYING IN MY FACE! are composed into anthropomor- phic forms - female faces, as seen in GIRL BYE (2016) and female bodies, most obviously apparent in the gargantuan piece, #1stPlace (2016). These forms are comprised of images that have become part of Newsome’s visual vernacular, which the artist has been expanding since the advent of his collage practice circa 2009. The long lithe legs found both in fashion glossies and ‘urban model’ fetish magazines, spherical shapes that could either be the domus oculus from New Synagogue Szeged Hungary or a spinning car rim, glittering jewels of an Elizabeth Taylor extravagance, lush plump lips and twerking asses, Gothic domes, Romanesque arches, and constructed vogue femme gestures- are all prominent throughout the works in STOP PLAYING IN MY FACE! Each of these images is strategically integrated as a means of ad- dressing some form of agency, body politics and/or the navigation of the white supremacist capitalist patriarchal society. As an example, COY (2016), pulls in these familiar images of luxury to create a fgurative composition reminiscent of a voguer caught in the tension of a drop. As suggested in the title, the central fgure peers firtily out of her bulbous pearl head at the viewer. She beckons the audience into the interstitial space of her female existence - or does she? At frst glance it may seem that way: her hand is posited in a classic ‘come hither’ gesture, her legs appear to be parted in a motion that also suggests invitation to engage. Yet, like the Agnolo di Cosimo Bronzino painting Venus, Cupid, Folly, and Time (c 1546), there is a mystery limb in this work that discombobulates everything. It is an additional leg, tucked in between the other two that makes the fgure ‘sit like a lady’- an antiquated, but still pervasive form of femininity im- posed on women by the heteronormative social structure. This rogue leg dynamically dismantles the notion of agency: is she in ownership of her body, is she trapped within a paradigm that controls and contorts her body? Or perhaps she is concurrently self-possessed and owned at the same time?

The conundrum of dispossession and agency is borne from Newsome’s muse (and also title maker) for STOP PLAYING IN MY FACE!, Samantha ‘Revlon’ James, a social media personality and a performance artist in her own right who lives off of the fnancial support of her fans. James aka “Cookie Tookie” is a self-proclaimed black, trans woman, homeless, sex worker. She has subverted her marginality, and her marginalized body, into a means of proft, and, thusly into a form of agency. One must not be too quick to subscribe to this phenomenon as a form of agency: James’ livelihood - the way she uses her black transfemme body- is spawned from necessity. Is the idea necessitated action at odds with the idea of agency? Is self-propagated sexualized voyeurism of one’s own body a means of agency or oppression? Are agency and oppression mutually exclusive concepts when it comes to the black/brown female body? These are the questions that Newsome brings to the table in this body of work through collage.

Other pieces in the exhibition push the bilateral question of agency versus dispossession of self. GIRL BYE (2016), for example, depicts a female face adorned with a fery blast of hair that Newsome says speaks to the “explosive physicality” of Vogue Femme performance (a longtime inspiration in his work), and represent the fantastical notion of combusting heteronormative power structures. With her mouth agape, GIRL BYE, seems to be saying “girl bye!”, and yet, again, other imagery elements within the composition force the viewer to question this assertion of self-possession. A murky viscous fuid is secreting from the hair, down the face, and into the mouth. It does not warrant in depth analysis into what this fuid might be, suffce it to say that it can be interpreted as a signifer of male dominance and imposition onto the female body.

Newsome’s ornate candy-painted frames, which have become recognizably part of Newsome’s larger oeuvre, cage several of the static collages like COY (2016) and BAAAAAAAM! (2016). They function as a way to further exacerbate the idea of dispossession of self within the schema of white supremacist capitalist patriarchal society. Dressed in objects of luxury such as lambskin leather, accoutrements of hip hop splendor; the frames are pulled from the golden age of European painting, specifcally sixteenth century Dutch master landscapes. They refect an affuence, privilege, and status of both the colonialist and the contemporary eras. And, in the same way patriarchal colonialism/postcolonialism does, they con- strain the collaged bodies behind the glass.

Newsome’s use of art historical reference within the collages is not all fraught with dispossession and non-agency. As a balance, Newsome incorporates the proverbial voice and impact of Dadaist artist Hanna Hoch. Her infuence is multifac- eted in this body of work. From a formal context, Hoch is credited with being one of the originators of photomontage, the medium which is at the crux of Newsome’s work. More conceptually, Hoch used this medium as a means to critique and dissect early fantastical assertions that women were treated as equal to men. She questioned the dichotomy of gender roles, a novel concept during her era. In addition to these qualities, Newsome’s greatest fascination with her is that as a woman, an artist, and a lesbian, Hoch was an early objector to the heteronormative patriarchal structure. Her memory and practice have colored all of the work in STOP PLAYING IN MY FACE!, and her voice, though not audibly included, is omnipresent in the larger dialog that Newsome creates.

Transcribing the Feminist Voice and Understanding Agency

This essay has already presented some voices that are integral in the formation of STOP PLAYING IN MY FACE!, Samantha ‘Revlon’ James’ overarching contribution to STOP PLAYING IN MY FACE!, and briefy mentioned that academic feminism and activism have also shaped this narrative. However, the presence of pluralistic voices in this conversation is not overtly prominent in this compilation except for in the crowning achievement of the show. STOP PLAYING IN MY FACE! (2016) is a three dimensional video piece that pulls together all the other elements within the body of work into an immersive audio and visual experience.

Visually, the piece is an animated version of a static collage, GAG (2016). The video opens with an extreme close up of the ‘crown’, the Befreiungshalle, Kelheim, Germany. A fgure, the iconic ballroom legend Leiomy Maldonado, emerges within the bowels of the dome. She vogues - sharing with the audience the dips and gestures that have made her so legendary, and as she does the animation pans out to reveal the full diamond encrusted face with its wandering eye. Leiomy remains confned within her colonnade, growing smaller and smaller as the girthy magnifcence of the collaged face is realized within the piece.

In time with the visual aspect of the video is a sound piece that was composed collaboratively with Hitmaker Chinx, an LA-based DJ, producer and prominent fgure in the fexing scene, a hip hop dance movement started in Brooklyn. The soundscape is comprised of an almost cacophonous audio collage of feminist voices including bell hooks, Janet Mock, Samantha ‘Revlon’ James, Marci Blackman and Lena Dunham. hooks repeatedly queries ‘are you still a slave,’ while Samantha ‘Revlon’ James habitually defnes what ‘stop playing in my face’ really means. They seem to synergistically dialogue at points, with James proudly proclaiming all that she is giving your New York City cunt, and Blackman asserting ‘if y’all are going to make money off of me, so am I.” It is a piece that full forcedly challenges the audience to get fully integrated into the discourse. The audio component of STOP PLAYING IN MY FACE! (2016) exemplifes how adamant Newsome is about incorporating pluralistic perspectives not only as a means to completely explore all the elements of topic, but also to allow for the audience to have multiple entryways into the discourse.

Transgressing Object as Medium- the Ouroboros

This essay has thus far tried to unpack complex components of the works that are visible in them. Without delving too heavily into the nuances of Jungian or alchemic philosophies, one could describe Rashaad Newsome’s body of work as simultaneously ouroboric and expansive. Newsome tears apart and pieces back together our understandings (or misunderstandings) of each element of these intersectional identities, both in the objects and in the intangible works as well. Yes, intangible work: in this new body, Newsome’s work is not limited to the physical objects in space, but rather - is continuously morphing and growing in the reactions and discourses borne from the audience’s engagement with the objects (Michael Fried rolls over in his grave). For Newsome, the defnition of ‘collage’ itself is transient - continuously transmuting and transforming, and ultimately transcending the parameters of physical space into dialogue, and, eventually, action.

A Note of Closure (or non Closure)

One aspect in the conversation around agency that has not yet been mentioned, but is important to note is the artist’s agency in creating these conversations. Newsome is a black, queer identifying, transgender advocate, and also a cisgender man. His position changes his perspective and outlook on concerns at hand. However, it does not seem to be his intention to speak for female identifying persons, just as it is not within his ability to speak authoritatively with the heteronormative white voice. In the context of STOP PLAYING IN MY FACE!, Rashaad Newsome is an agent of inquisition; he does not ask us to answer or simplify the complexities around issues of female agency, only to consider them. It is, hopefully, very clear that Newsome’s overall motivation is to give voice to issues of intersectionality through his work, to shift paradigms of power by using his own visual language, and to challenge our acceptance of structural norms.

Jasmine Wahi is the Co-Owner of Gateway Project Spaces, and Co-Founder and Chairwoman of the Board of Project For Empty Space. Her curatorial practice typically explored intersectional identities, such as feminism, race, and economics. She lives in Brooklyn, NY, with her chihuahua Channa. WORKS STOP PLAYING IN MY FACE! (still), 2016 single channel video with sound 4 minutes Edition of 3 + 2 AP Gag, 2015 collage on paper 32 x 25 inches 81 x 64 cm #1stPlace, 2016 collage in custom frame with leather and automotive paint 72 1/4 x 72 1/4 inches 184 x 184 cm YAAAAAAAS!, 2016 collage in custom frame with leather and automotive paint 72 1/4 x 72 1/4 inches 184 x 184 cm BAAAAAAAM!, 2016 collage in custom frame with leather and automotive paint 43 1/4 x 55 1/4 inches 110 x 141 cm Coy, 2016 collage in custom frame with leather and automotive paint 43 x 53 inches 109 x 135 cm Girl Bye, 2016 collage on paper 37 x 28 inches 94 x 71 cm Original Man, 2015 collage on paper 34 1/8 x 30 1/2 inches 87 x 78 cm When You Get Your Hair Done for the Family Barbecue and You Know It Looks Good, 2015 collage on paper 34 1/2 x 26 1/4 inches 88 x 67 cm When You’re Talking to Someone and You Know They are Lying but You Keep Listening, 2015 collage on paper 33 1/2 x 27 1/4 inches 85 x 69 cm Brush Stroke, 2015 collage on paper 33 x 27 1/4 inches 84 x 69 cm Red Bone, 2015 collage on paper 33 1/8 x 30 7/8 inches 84 x 78 cm RASHAAD NEWSOME

1979 Born in New Orleans, Louisiana 2001 Bachelors of Arts, Tulane University, New Orleans, LA 2004 Studied Film at Film/Video Arts Inc., New York, New York

Currently lives and works in New York

AWARDS

2016 Artist-in-Residence, Tamarind Institute, Albuquerque, New Mexico 2014 Artist-in-Residence, Headlands Center for the Arts, Sausalito, CA 2012 Artist-in-Residence, McColl Center for Visual Art, Charlotte, NC Visiting Artist Residency, Museum of Glass, Tacoma, WA 2011 Award, Louis Comfort Tiffany Foundation, New York, NY Artist in Residence, Pilchuck Glass School, Seattle, WA 2010 Visual/Interdisciplinary Arts fellow, Urban Artist Initiative, New York, NY Artist Grant, The Urban Artist Initiative, New York, NY 2009 Visual Arts Grant, Rema Hort Mann Foundation, New York, NY Harvestworks Van Lier Grant, Harvestworks, New York, NY Summer/Fall Artist in Residence Program, Eyebeam, New York, NY Artist Studio Program, Smack Mellon, Brooklyn, NY BAC Community Arts Regrant, Brooklyn Arts Council, Brooklyn, NY 2008 International Residency Program, Location 1, New York, NY SVA/LMCC Visiting Artist Award, School of Visual Arts, New York, NY Lower Manhattan Cultural Council’s Workspace Artist Residency Program, LMCC, New York, NY 2007 Joint Multimedia Residency, BCAT/Rotunda Gallery, New York, NY 2006 Franklin Furnace Grant for Performance Art, Franklin Furnace Fund, New York, NY 2005 Artist in Residence, Harvestworks, New York, NY Artist in Residence, L’Entreprise Culturelle, Paris, France

BIENNIALS

2011 Venice Biennale: “Commerical Break”, Garage Projects,Venice, Italy 2010 Whitney Biennial, Whitney Museum of American Art, New York, NY

SELECTED SOLO EXHIBITIONS

2016 Contemporary Arts Center, New Orleans, LA Stop Playing in My Face, De Buck Gallery, New York, NY This is What I Want To See, Studio Museum in Harlem, New York, NY 2015 ICON, Des Moines Art Center, Des Moines, IA Order of Chivalry, Savannah College of Art and Design, Savannah, GA Silence Please The Show Is About To Begin, Art Gallery of York University, Toronto, Canada 2014 LS.S, Marlborough Gallery, New York, NY FIVE, The Drawing Center, New York, NY 2013 Score, Gallerie Henrik Springmann, Berlin, Germany The Armory Show, Marlborough Chelsea, New York, NY Rashaad Newsome: King of Arms, The New Orleans Museum of Art, New Orleans, LA 2012 Converge, McColl Center for Visual Art, Charlotte, NC 2011 Shade Compositions, Galerie Stadtpark, Krems, Austria Rashaad Newsome: Herald, Marlborough Chelsea, New York, NY Rashaad Newsome/MATRIX 161, The Wadsworth Atheneum Museum of Art, Hartford, CT 2010 Rashaad Newsome: Videos and Performance 2005-2010, Syracuse University Art Galleries, Syracuse University, Syracuse, NY Honorable Ordinaries, Ramis Barquet Gallery, New York, NY Futuro, ar/ge Kunst Galerie Museum, Bolzano, Italy 2009 Rashaad Newsome: Standards, Ramis Barquet Gallery, New York, NY 2008 Untitled (Banji Cunt), Talman + Monroe, Brooklyn, NY Compositions, Location1, New York, NY

SELECTED GROUP EXHIBITIONS

2015 Performance and Remnant, The Fine Arts Society, London, United Kingdom Fabulous, Shirin Gallery, New York, NY A Curious Blindness, Columbia University, New York, NY 2014 Killer Heels, Brooklyn Museum, Brooklyn, NY Summer Group Exhibition, Marlborough Gallery, New York, NY BLACK EYE, New York, NY 2013 The Concept of Baroque in Contemporary Art, curated by Dr. Sabine Maria Schmidt, Gallerie Henrik Springmann, Berlin, Germany In God We Trust — The Religious Mosaic in America, Zacheta National Gallery of Art, Warsaw, Poland GODDESS CLAP BACK: HIP HOP FEMINISM IN ART CURATED BY KATIE CERCONE, CUE Art Foundation, New York, NY “The Idyllic Synthesis: Contradictions of Vision and Reality”, Curated by Yu Yeon Kim, Seoul Museum of Art, Seoul, South Korea Summer Group Exhibition, Marlborough Gallery, New York, NY Tectonic - 24 International Artists in Dubai, The Moving Museum, Dubai, United Arab Emirates. Eye on the Storm, Bob Rauschenberg Gallery, St. Myers, FL 2012 It’s Time to Dance Now, Centre national d’Art et de Culture Georges Pompidou, Paris, France Stage Presence: Theatricality in Art and Media, SFMoMA, San Francisco, CA Eagles, Marlborough Madrid in Collaboration with Marlborough Chelsea, Madrid, Spain Sound Quality, Grey Area, New York, NY The Bearden Project, The Studio Museum in Harlem, New York, NY 2011 Revel, Revel, Cave, Detroit, MI Beauty Contest, Austrian Cultural Forum New York, New York, NY; MUSA, Vienna, Austria. Summer Group Exhibition, Marlborough Chelsea, New York, NY Commercial Break, Garage Center for Contemporary Culture at the 54th Venice Biennale, Venice, Italy Flash: Light, Festival of Ideas for the New City, New Museum, New York, NY 2010 Free, The New Museum of Contemporary Art, New York, NY In the Company of..., Housatonic Museum of Art, Bridgeport, CT Boy, oh Boy, Fredric Snitzer Gallery, Miami, FL Word-Less, The Elizabeth Foundation For The Arts, New York, NY Greater New York, MoMA PS1, Long Island City, NY After Image, School 33 Art Center, Baltimore, MD Prospect 1.5, Good Children Gallery, New Orleans, LA 2009 African Americana, Brennan Courthouse, Jersey City, NJ Art Hysteria, Nicola Vassell Salon, New York, NY That Was Then..., Rush Arts Gallery, New York, NY East Coast Video, Ramis Barquet Gallery, New York, NY After Dark, A.D. Projects, New York, NY Fusebox Festival 2009, United Sates Art Authority, Austin, TX Stage II, The Project Gallery, New York, NY Pulse, Taller Boricua, New York, NY 2008 The B Sides, Aljira Center For Contemporary Art, Newark, NJ The Summer Show, Phillips de Pury, New York, NY 2007 We Are Familia, Colette, Paris, France. Inspired In New York, The Sapphire Lounge, New York, NY New York Electronic Arts Festival, 15 Nassau St. (LMCC Swing Space Program), New York, NY 2006 TINAB 2006, The Veletrzni Palace, Prague, Czech Republic. Kick It One Time!, Ingalls & Associates Gallery, Miami, FL Beauty Shop, Soul Gallery, Miami, FL Video Dumbo, DUMBO Arts Center, Brooklyn, NY Believe, Rush Arts Gallery, New York, NY Open Zone, Ocularis at Galapagos Art Space, New York, NY Brother To Brother, Zero Station, Portland, ME The Summer Show, Grace Exhibition Space, Brooklyn, NY 2005 A TV, Rush Arts Gallery, New York, NY 2004 Live Fast Die Young, DUMBA Arts Collective, Brooklyn, NY 2003 Summer Salon, DUMBA Arts Collective, Brooklyn, NY 2000 Babylon Lexicon, Zeitgeist Multidisciplinary Arts Center, New Orleans, LA New Orleans Emerging Artists, Zeitgeist Multidisciplinary Arts Center, New Orleans, LA No Frills, The Contemporary Arts Center, New Orleans, LA

PUBLIC SCREENINGS

2015 The Conductor, Midnight Moment, Time Square Art Alliance, New York, NY Shade Compositions SFMOMA, Hans Weiss Newspace Gallery, Manchester, Hartford County, CT Shade Compositions SFMOMA, Vivid Projects, Birmingham, UK Untitled and Untitle (New Way), Public Studio, Toronto, Canada 2014 KNOT and FIVE(The Drawing Center), ARTPROJX, Art Basel Miami Beach, Miami, FL 2013 Swag the Mix-Tap Vol 1, ARTPROJX, Art Basel Miami Beach, Miami, FL Shade Compositions SFMoMA 2012, Dirty Looks: On Location, StoneWall, New York, NY 2012 Shade Compositions SFMoMA 2012, ARTPROJX, Art Basel Miami Beach, Miami, FL

SELECTED COLLECTIONS

The Dean Collection, New York, NY San Francisco Museum of Modern Art, San Francisco, CA Whitney Museum of American Art, New York, NY Brooklyn Museum, Brooklyn, NY

PUBLIC COMMISSIONS

2016 Shade Compositions NOLA, Contemporary Arts Center, New Orleans, LA Rashaad Newsome’s Daata Editions, Daata, London, United Kingdom King Of Arms Art Ball IV, New York, NY 2015 King of Arms Mass Processional Performance, Miami, FL The Conductor, Midnight Moment, Time Square Art Alliance, New York, NY King of Arms Art Ball III, New York, NY 2014 KNOT, Brooklyn Museum, Brooklyn, NY King of Arms Art Ball II, New York, NY Shade Compositions Graz, Steirischer herbst Festival, Graz, Austria 2013 King of Arms Art Ball, New York, NY 2012 MTV Art Breaks, Rashaad Newsome SWAG the Mixtape Vol.2, New York, NY 2010 Status Symbols #22, Collage, Atlantic Records, New York, NY 2009 Shade Compositions 2009, Performance, LMCC Downtown Dinner, 7 World Trade Center, New York, NY

LECTURES

2016 Studio Museum in Harlem, New York, NY Centro Cultural Banco do Brasil, Sao Paulo, Brasil University of Georgia, Athens, GA 2015 Manchester Community College, Manchester, CT The College of New Rochelle, New Rochelle, NY University of Connecticut, Storrs, Connecticut University of New Mexico, Albuquerque, NM 2014 College for Creative Studies, Detroit, MI Parsons Fine Art, New York, NY 2013 Art Basel in Miami Beach, Miami, FL New Orleans Museum of Art, New Orleans, LA 2012 Pratt Institute, New York, NY San Francisco Art institute, San Francisco, CA Sotheby’s Institute of Art, New York, NY 2011 Rhode Island School Of Design, Providence, RI The Wadsworth Atheneum Museum of Art, Hartford, CT Rutgers University, Newark, NJ 2010 ar/ge Kunst Galerie Museum, Bolzano, Italy Garage Center for Contemporary Culture, Moscow, Russia Temple University, Philadelphia, PA 2009 The New Museum of Contemporary Art, New York, NY School of Visual Arts, New York, NY

CATALOGUES AND MONOGRAPHS

2015 L. S. S., Marlborough Gallery, New York, NY 2014 Shade Compositions Graz, Steirischer Herbst, Graz, Austria FIVE, The Drawing Center, New York, NY 2013 The Concept of Baroque in Contemporary Art, curated by Dr. Sabine Maria Schmidt, Gallerie Henrik Springmann, Berlin, Germany 2011 Herald, Marlborough Gallery, New York, NY Komary, David. Shade Compositions. Krems: Galerie Stadtpark. Austrian Cultural Forum New York and MUSA Vienna. Beauty Contest. New York: Austrian Cultural Forum New York and MUSA Vienna. 2010 Fassi, Luigi. Futuro. Bolzano: Kunst Galerie Museum. Biesenbach, Klaus, Cornelia Butler and Neville Wakefeld. Greater New York 2010. New York: MoMA PS1. Bonami, Francesco and Gary Carrion-Muryari. 2010: Whitney Biennial. New York: The Whitney Museum of American Art. 2008 Anonymous. Untitled (Banji Cunt). Brooklyn: Talman + Monroe Gallery. Exhibition catalogue

LIVE PERFORMANCES

2016 Shade Compositions NOLA, Contemporary Art Center, New Orleans, LA FIVE, San Francisco Museum of Modern Art, San Francisco, CA 2015 The Conductor, Midnight Moment, Time Square Art Alliance, New York, NY 2014 KNOT, Brooklyn , Museum, New York, NY Shade Compositions, Steirischer Herbst Festival, Graz, Austria FIVE, The Drawing Center, New York, NY 2012 FIVE, Feast Projects, Hong Kong, China Shade Compositions, San Francisco Museum of Modern Art, San Francisco, CA 2011 The Tournament, Marlborough Chelsea, New York, NYin conjunction with Performa 11 Hair Affair and FIVE, Miami Art Museum, Miami, FL Hair Affair, ArtBook/D.A.P., New York, NY Party in the Plaza, Miami Art Museum, Miami, FL FIVE, Institute of Contemporary Art, Boston, MA 2010 Shade Compositions, MoMA PS1, New York, NY FIVE, The Whitney Museum of American Art, New York, NY Shade Compositions, Garage Center for Contemporary Culture, Moscow, Russia Honorable Ordinaries, Under The High Line 24th St., New York, NY 2009 FIVE, Eyebeam, New York, NY Shade Compositions 2009, The Kitchen, New York, NY 2008 Shade Compositions, Location One, New York, NY 2007 Shade Compositions, DUMBO Arts Under The Bridge Festival, 111 Front Street Galleries, Brooklyn, NY 2006 The 14th Bi-Annual International Electro-Acoustic Music Festival, Brooklyn College, Brooklyn, NY Shade Compositions, Glassbox Gallery, Paris, France Shade Compositions, K.U.E.L., Berlin, Germany

PRESS

2016 Van Straaten, Laura, “The Artist Vogueing (and Collaging, and Boxing) Across America,” The New York Times Style Magazine, March 24, 2016, New York, NY Ongley, Hannah, “rashaad newsome’s explosivemash-up of post-feminism and the mainstreaming vogue,” i’D Magazine, March 23, 2016, London, United Kingdom Mendelson, Winter, “The Ornamentation Issue,” Posture Magazine, March 5, 2016, New York, NY 2015 Blair, Courtney Willis, “Rashaad Newsome opens at SCAD Museum of Art”, Forbes, July 20, 2015, New York Symonds, Alexandra, “When Contemporary Art Meets Ballroom Culture”, September 21, 2015, The New York Style Magazine, New York, NY Frank, Priscilla, “Rashaad Newsome Explores The History of Hip Hop Gestures”,The Huffngton Post, December 5, 2014, New York, NY Massara, Kathleen, “Rashaad Newsome Takes on Voguing Legends at King of Arms Art Ball”, Artnet news, September 23, 2015, New York, NY Butler, Jared BURNAWAY, Savannah, GA Sargent, Antwaun, Interview, New York, NY Sargent, Antwaun, “Watch: Step Inside Multimedia Artist Rashaad Newsome’s Queens Studio”, TRIBECA, New York, NY Disser, Nicole, “Rashaad Newsome’s ‘Coming Out’ Ball in Bushwick Was Insane”, BEDFORD + BOWERY, September 22, 2015, New York, NY Sargent, Antwaun, The Art of Being Feminist and Fabulous”, - Sept 18, 2015, New York, NY Schechter, Fran, “Rashaad at Art Gallery of York University”, NOW, April 24, 2015, Toronto, Canada Mohammad, Sehba,“Figure Out Rashaad Newsome’s Creative’s Process”, Flavorpill, March 27, 2015 New York, NY Willard, Jeremy, “Rashaad Newsome throws shade”,DAILYXtra, April 6, 2015, Toronto, Canada 2014 Manning, Emily, I-D Magazine, London, United Kingdom Baumgardner, Julie, “Rashaad Newsome’s Miami Warm Up Playlist,” VULTURE, December 1, 2014,New York, NY Archer-Coité, Alyse, Maker Magazine, New York, NY Litovsky, Dina, “Newsome Marries voguing with Art History”, August 25, 2014, The New York Times, New York, NY Frank, Alex, “Voguing on the Pier with Artist Rashaad Newsome”, VOGUE, New York, NY Sutton, Benjamin, “Rashaad Newsome and Louboutin Lace at the Brooklyn Museum”, Artnet, August 26, 2014, Brooklyn, NY Cooper, Annelise, “Mykki Blance Joins Rashaad Newsome at SELECT Fair Miami”, BLOUINARTINFO, Decemeber 6, 2014, New York, NY Cooper, Ashton, “Q&A with Artist Rashaad Newsome”.BLOUINARTINFO, November 3, 2014 New York, NY Sargent, Antwaun, “Artist Rashaad Newsome Discusses his “KNOT” flm in the Brooklyn Museum’d “Killer Heels” Group Exhibition”, COMPLEX, September 3, 2014, New York, NY 2013 MacCash, Doug, “Artist Rashaad Newsome brings bling to the New Orleans Museum of Art”, The Times –Picayune, June 20, 2013, New Orleans, LA Lasane, Andrew, “Rashaad Newsome Blends Baroque Ornamentation and Hip Hop Infuences”, COMPLEX, June 20, 2015, New York, NY Babcock, Stephen, “BLING KING Rashaad Newsome’s Hip Hop Heraldry Crowns NOMA’s Hall”, NOLA DEENDER, June 25, 2013, New Orleans, LA 2012 Sutton, Benjamin, “Rashaad Newsome and Teens Collaborate on Occupy-Themed Video Art at MOMA”, BLOUINARTINFO, August 21, 2012 Smith, Melissa, “Rashaad Newsome’s 21st Century art party”, POLITICO beta, June 6,2012 Allen, Emma. “Does Serious Art Belong on MTV.” The New Yorker, April 10, 2012 Ambrozy, Lee. “Days of being wild.” Artforum, May 22, 2012 “Afternoon Bites: Rashaad Newsome, Neil Gaiman on Ray Bradbury, Cooking with Matt Fraction and Kelly Sue DeConnick, and More.” Vol. 1 Brooklyn, June 07, 2012 “Marlborough Chelsea x W Magazine Presents Rashaad Newsome.” Think Contra, June 06, 2012 “Pop Filter Hot Pick: Factory Direct Pittsburgh.” Pop City, June 20, 2012 “Rashaad Newsome and A$AP MOB at GREY AREA.” Scallywag and Vagabond, June 07, 2012 “Rashaad Newsome at GREY AREA.” Paddle8, June 09, 2012 “Rashaad Newsome’s Pop and Pagentry.” Spread Art Culture, June 06, 2012 “Rashaad Newsome/W Magazine/Venus X/A$AP MOB/Marlborough Chelsea @ Grey Area in SoHo.” Stink Grenade, June 18, 2012 “Robert Rauschenberg Foundation announces recipients for the inaugural round of its artistic grants.” Art Daily, January 30, 2012 “Tiffany Foundation Announces 2011 Award Recipients.” Artforum, February 23, 2012 “W Magazine Party for Rashaad Newsome with Performances from A$AP Mob.” Untitled Magazine, June 06, 2012 “Weekly Webdance 1/25: Rashaad Newsome and Darrin Prada.” Pentacle, January 25, 2012 Corbett, Rachel. “Armory Show 2012.” Artnet, March 08, 2012 Cross, Una-Kariim A.. “Rashaad Newsome Presents: Art and Performance, The Remix.” Loop21, April 13, 2012 Darwin, Liza. “Seen on TV.” Nylon, April 09, 2012 Duray, Dan. “Robert Lazzarini, Jonah Freeman and Justin Lowe Join Marlborough Chelsea.” The New York Observer, February 09, 2012 Ferro, Shane. “Rashaad Newsome Breaks Through the SWAG on MTV’s Art Breaks.” Artinfo, April 19, 2012 Finch, Charlie. “Is Black Art Too Kitschy?.” Artnet, April 13, 2012 Haidu, Rachel. “‘Dance/Draw’.” Artforum, vol. 50, no. 6, February, p. 223 Halperin, Julia. “Former Goss-Michael Foundation Curator James Cope Joins Marlborough Chelsea.” Artinfo, April 18, 2012 Jovanovic, Rozalia. “Gallerist’s Week in Pictures.” The New York Observer, April 23, 2012 Jovanovic, Rozalia. “Performa Hosts Sparkling First Beneft Auction.” The New York Observer, May 18, 2012 Kirsch, Corrina. “Watch a Fat Man Die: MTV Premieres Art Breaks 2.0.” Art Fag City, April 03, 2012 Kupfer, Olivia. “All That Glistens: Rashaad Newsome Celebrates at Grey Area.” Haute Diary, June 16, 2012 Marchese, David. “Rewatch the Throne.” Spin, April 01, 2012 McClemont, Doug. “Rashaad Newsome.” ARTnews, January 2012, p. 108. McCoy, Chris. “Memphis Music MVS 2012: Rashaad Newsome at the Power House.” Live from Memphis, February 24, 2012 Miller, Michael H.. “Rashaad Newsome Introduces the World to A$AP Mob.” The New York Observer, June 06, 2012 Morris, Bob. “When the Family Business is Art.” The New York Times, March 06, 2012 2012 Nelson, Karen. “Flash Player.” W, June 07, 2012 p. 102. Pini, Gary. “Grey Area’s Sound Quality Mixed Media Show Kicks Off Saturday.” Paper Magazine, April 25, 2012 Reynolds, Amelia. “Rashaad Newsome at GREY AREA.” Whitewall, June 07, 2012 Sadler, Marilyn. “Visiting Artist Coming to the Powerhouse.” Memphis Magazine, February 21, 2012 Sanina, Anna. “MTV Has Rolled out the ‘Art Breaks’ Video Project.” Popsop, April 05, 2012 Seno, Alexandra A.. “In Hong Kong, What Else to See.” The Wall Street Journal, May16,2012 Smith, Melissa. “Rashaad Newsome’s 21st-Century Art Party.” Capital, June 06, 2012 2012Velury, Ramya. “Marlborough Chelsea Celebrates Rashaad Newsome Debut in W Magazine.” Guest of Guest, June 06, 2012 Wyma, Chloe. “26 Questions for Cultural Remix Artist Rashaad Newsome.” Artinfo, May 21, 2012 Zara, Janelle. “*BLING*: Rashaad Newsome’s Work Sparkles as Grey Area’s Latest Addition.” Artinfo, June 06, 2012 2011 Amir. “Rashaad Newsome At Marlborough Gallery.” Beautiful Decay, October 19, 2011 “Download and listen to Creator Rashaad Newsome’s Swag the Mix Tape Vol. 1.” The Creator’s Project, October 29, 2011 “Guest Contributor: Rashaad Newsome.” Paddle8, November 16, 2011 “Jack of All Trades Rashaad Newsome Goes 24/7.” The Standard, December 12, 2011 “Marlborough Chelsea opens frst solo exhibition by multi-media artist Rashaad Newsome.” Art Daily, October 19, 2011 “Performa 11.” Time Out New York, October 27- November 2, p. 46 “Rashaad Newsome at the Wadsworth Athenaeum .” Hartford Advocate, April 20, 2011 “Rashaad Newsome’s ‘Herald’ Exhibit was Apparently a Hit at Marlborough Gallery.” Art Observed, December 05, 2011 “Seven on Seven Teams: Rashaad Newsome and Jeri Ellsworth.” Rhizome, May 11, 2011 “Shade Compsitions.” Krems: Galerie Stadtpark “Week in Review.” Dear Chelsea, October 24, 2011 Archey, Karen. “From Nerd to New Museum: Assessing the Arty Inventions Hatched at AOL’s 7 on 7 Conference.” Artinfo, May 16, 2011 Arriola, Regina. “Miami Art Museum and Thom Collins Host Private Gathering at Ocean House.” Haute Living, December 07, 2011 Cohen, Michael. “Art Basel: Everything But The Art.” The Huffngton Post, November 16, 2011 Ding, Chinnie. “Critic’s Pick: Rashaad Newsome.” Artforum Downing, Lauren. “Artist Spotlight: Rashaad Newsome.” Ammo Magazine, July 01, 2011 Dyer, Deidre. “Live: Hair Affair by Rashaad Newsome.” The Fader, June 08, 2011 Flood, Kathleen. “Rashaad Newsome Will Make You Whip Your Hair.” The Creator’s Project, June 09, 2011 Galperina, Marina. “Rashaad Newsome’s Hip Hop Opulence.” Animal New York, October 24, 2011 Halperin, Julia. “Art, Meet Science: Rhizome Director Lauren Cornell on AOL’s Cross-Pollinating 7 on 7 Conference.” Artinfo, May 13, 2011 Howe, David Everitt. “Rashaad Newsome.” Art Review, no. 53, October, pp. 94-99 Hudson, Suzanne. “’Dance/Draw’.” Artforum, vol. 50, no. 1, September, p. 142 Jarr, Maggie. “Kanye Would Approve: Artist Rashaad Newsome.” Public Works, May 23, 2011 Jovanovic, Rozalia. “Rashaad Newsome Disavows St. Patrick’s Performance Art Bomb.” Artinfo, May 09, 2011 Jovanovic, Rozalia. “Rashaad Newsome’s Hip Hop Heraldry.” Flavorwire, May 06, 2011 Kaganskiy, Julia. “Highlights From Rashaad Newsome’s “Rap Joust” Tournament In New York.” The Creator’s Project, November 17, 2011 Leibowitz, Lauren. “Rashaad Newsome’s Swag Hits The NYC Art Scene.” The Creator’s Project, October 21, 2011 Morse, Trent. “Hip-Hop Heraldry.” ARTnews, vol. 110, no. 9, October, pp. 66-68 Nat. “Creative Reuse: At Marlborough Chelsea and in our Classrooms.” Materials for the Arts, October 21, 2011 Norman, Lee Ann. “I Dub Thee... Swaggerlicious.” Art Slant, October 30, 2011 Olu, Amani. “Artist to Watch: Rashaad Newsome.” Whitewall, July 01, 2011, pp. 50-51. Illustrated, p. 51, (color) Perry, Eve. “French Aristocracy Meets American Hip-Hop in the Work of Rashaad Newsome at the Wadsworth Atheneum.” Hartford Advocate, April 20, 2011 Perta, Litia. “‘Dance/Draw’.” Artforum, December 13, 2011 Peterson, Miranda. “Star-Studded Art Basel 2011.” Joonbug, December 05, 2011 Pini, Gary. “Performance Artist Gives Birth in BrooklynGallery + the High Line’s ‘Haunt Room’ = Eight Items are Less.” Paper Magazine, October 26, 2011 Pogrebin, Robin. “Countdown At City Center, As Reopening Approaches.” The New York Times,, October 11, 2011 pp. C1, C4 Riddick, Aja K. “Rashaad Newsome ‘Herald’ Exhibit Mixes Hip Hop and High Art.” The Well Versed, October 21, 2011 Robinson, Walter. “Bad ‘Knight’ for Rashaad Newsome.” Artnet, May 10, 2011 Rohringer, Susanne. “Collagierte Weiblichkeit.” Art Magazine , May 26, 2011 Rosenberg, Bonnie. “Two by Two at Seven on Seven.” The Art Newspaper, May 17, 2011 Ryzik, Melena. “’Swag the Mix Tape,’ Exclusive Video From Rashaad Newsome.” The New York Times, October 20, 2011 Ryzik, Melena. “Blending Hip-Hop And Heraldry.” The New York Times, October 23, pp. AR1, AR24 Seth. “Miami Art Museum at Ocean House.” Worl Red Eye, December 01, 2011 Smith, Mary. “ART: Rashaad Newsome interprets heraldry in the 21st century.” Sick of the Radio, July 07, 2011 Solomon, Tara. “Art + Fashion + Celebrity = Basel.” The Huffngton Post, December 01, 2011 Souza, Erin L.. “Institute of Contemporary Art Celebrates 75th Anniversary in Secret Location.” Biz Bash, November 02, 2011 Staff. “Art Overhaul.” Whitewall, July 01, 2011, p. 28 Staff. “Eagerly Anticipating: the New Museum’s Festival of Ideas.” The Imagist, April 29, 2011 Wayne. “Rashaad Newsome: Herald.” The Imagist, November 01, 2011 Yeldezian, Alexi. “Everything You Need To Know This Week On New York’s Art Scene.” Guest of a Guest, November 01, 2011 2010 “Greater New York.” ARTnews “Greater New York.” TimeOut New York “The Hot List.” OUT Magazine Bloom, Julie. “On Dance: Voguing at the Whitney.” The New York Times, March 04, 2010 Bonami, Francesco. “2010: Whitney Biennial.” The Whitney Museum of American Art, March 04, 2010 Chadha, Tina. “Money, power respect.” Metro, November 17, 2010 Cotter, Holland. “At a Biennial on a Budget, Tweaking and Provoking.” The New York Times, February 25, 2010 Fassi, Luigi. “Rashaad Newsome: Throwing Shade.” Mousse Magazine Goldstein, Richard J. “Rashaad Newsome.” BOMB Magazine Heyman, Stephen. “The Nifty 50.” T Magazine Blog, February 10, 2010 Hirsch, Faye. “Greater New York.” Art in America Hruska, Jordan. “Rashaad Newsome, en vogue.” The Advocate Hunt, Kenya. “Ghetto Girls and Coronets.” Vogue Italia Kerr, Merrily. “Greater New York 2010.” Flash Art Moran, Jarrett. “Rashaad Newsome: Hip-hop Heraldry.” Artlog, November 05, 2010 Mr. V. “Rashaad Newsome & Alexander Wang Move! At MoMA PS1.” V Magazine Mr. V. “V67 Works In Progress.” V Magazine Nnadi, Chioma. “MOVE!: Behind the Scenes of the Art-Meets-Fashion Performance Series at MoMA’s PS1.”Vogue Peterson, Miranda. “Star-Studded Art Basel 2011.” Joonbug, December 05, 2010 Schultz, Charlie. “Hip-Hop Royalty.” Modern Painters Sutton, Benjamin. “Photos from Rashaad Newsome and Maluca Mala’s Performance Under the High Line on Friday Night.” The L Magazine Viveros-Fauné, Christian. “Welcome to the Mixed-Up, Dialed-Down 2010 Whitney Biennial.” The Village Voice Walsh, Brienne. “Rashaad Newsome: A Bling Thing.” Art in America Yablonsky, Linda. “Miniskirt, Bodysuit, Orff Spice MoMA PS1 Extravaganza (Correct).” bloomberg.com 2009 “Stage II.” Art Review “The Exhibition.” Crash Magazine “Throwing Shade.” Trace Magazine Carlin, T.J.. “Rashaad Newsome.” TimeOut New York Gartenfeld, Alex. “Who Benefts?.” Interview Magazine Kitamura, Katie. “Rashaad Newsome.” The Last Magazine Misheff, Johnny. “Word Up! A Report from the Lower Manhattan Cultural Council’s Downtown Dinner.” Paper Magazine Olson, Marisa. “In the Round.” Rhizome, February 03, 2009 Parkinson, Robert. “Shade Compositions - Sheer Elegance.” Robert Parkinson’s Blog, February 11, 2009 Genocchio, Benjamin. “The House Party Spirit in All Its Glory .” The New York Times, December 26, 2008 Levy, Alison. “Rashaad Newsome’s Dance Moves.” ArtSlant, July 20, 2008 Schwendener, Martha. “Project Spaces at Location One and White Columns.” The Village Voice, July 09, 2009

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