Derek Fordjour CV

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Derek Fordjour b. 1974 New York City, NY EDUCATION 2016 Hunter College, MFA 2002 Harvard University, Ed.M 2001 Morehouse College, BA SOLO EXHIBITIONS 2015 The Upper Room, Robert Blumenthal Gallery, New york, NY 2015 Meritocracy, Jack Bell Gallery, London UK 2014 The BIG GAME, Storefront Ten Eyck Gallery, Brooklyn, NY 2013 Sciame Artist’s Salon Series Exhibition, Sciame Corporate Gallery, New York, NY 2013 Built Environments: Inaugurations with Felandus Thames, Columbia University 2013 Russ Barrie Pavillion, New York, NY GROUP EXHIBITIONS 2015 I Like It Like This, Sothebys S2 Gallery, New York, NY 2015 And There is an End, Roberts & Tilton Gallery, Los Angeles, CA 2015 Mixed Doubles, Sometimes Gallery, New York, NY 2015 No Such Place, Edward Tyler Nahem Gallery, New York, NY 2014 OPEN, PAPILLION ART, Los Angeles, CA 2013 Corpus Americus, Driscoll Babcock Gallery, New York, NY 2013 Ticknihova and Winter, New York, NY 2013 Atlanta University Center Alumni Exhibition, Atlanta University Center, Atlanta, GA 2006 A Hicks of our Own, Memphis College of Art, Memphis, TN 2002 Recourse and Consideration, Spelman College Art Gallery, Atlanta, GA BIBLIOGRAPHY New York Times review of “The Upper Room” by Holland Cotter http://www.nytimes.com/2015/11/20/arts/design/from-derek-fordjour-a-sense-of- abandoned-ritual.html?_r=2 PAPILLION ART 4336 DEGNAN BLVD. LOS ANGELES, CA 90008 E. [email protected] T. +1.323.642.8402 PAPILLIONART.COM Huffington Post article on his solo exhibition “The Big Game” by Souleo Wright “The Sports world could learn from Derek Fordjour’s artworks” http://www.huffingtonpost.com/peter-souleo-wright/on-the-a-wsouleo-the- spor_b_5877982.html Brooklyn Rail write up on “The Big Game” by Jonathan Goodman http://www.brooklynrail.org/2014/10/artseen/derek-fordjour-the-big-game PAPILLION ART 4336 DEGNAN BLVD. LOS ANGELES, CA 90008 E. [email protected] T. +1.323.642.8402 PAPILLIONART.COM .

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Notable Alphas Fraternity Mission Statement
ALPHA PHI ALPHA NOTABLE ALPHAS FRATERNITY MISSION STATEMENT ALPHA PHI ALPHA FRATERNITY DEVELOPS LEADERS, PROMOTES BROTHERHOOD AND ACADEMIC EXCELLENCE, WHILE PROVIDING SERVICE AND ADVOCACY FOR OUR COMMUNITIES. FRATERNITY VISION STATEMENT The objectives of this Fraternity shall be: to stimulate the ambition of its members; to prepare them for the greatest usefulness in the causes of humanity, freedom, and dignity of the individual; to encourage the highest and noblest form of manhood; and to aid down-trodden humanity in its efforts to achieve higher social, economic and intellectual status. The first two objectives- (1) to stimulate the ambition of its members and (2) to prepare them for the greatest usefulness in the cause of humanity, freedom, and dignity of the individual-serve as the basis for the establishment of Alpha University. Table Of Contents Table of Contents THE JEWELS . .5 ACADEMIA/EDUCATORS . .6 PROFESSORS & RESEARCHERS. .8 RHODES SCHOLARS . .9 ENTERTAINMENT . 11 MUSIC . 11 FILM, TELEVISION, & THEATER . 12 GOVERNMENT/LAW/PUBLIC POLICY . 13 VICE PRESIDENTS/SUPREME COURT . 13 CABINET & CABINET LEVEL RANKS . 13 MEMBERS OF CONGRESS . 14 GOVERNORS & LT. GOVERNORS . 16 AMBASSADORS . 16 MAYORS . 17 JUDGES/LAWYERS . 19 U.S. POLITICAL & LEGAL FIGURES . 20 OFFICIALS OUTSIDE THE U.S. 21 JOURNALISM/MEDIA . 21 LITERATURE . .22 MILITARY SERVICE . 23 RELIGION . .23 SCIENCE . .24 SERVICE/SOCIAL REFORM . 25 SPORTS . .27 OLYMPICS . .27 BASKETBALL . .28 AMERICAN FOOTBALL . 29 OTHER ATHLETICS . 32 OTHER ALPHAS . .32 NOTABLE ALPHAS 3 4 ALPHA PHI ALPHA ADVISOR HANDBOOK THE FOUNDERS THE SEVEN JEWELS NAME CHAPTER NOTABILITY THE JEWELS Co-founder of Alpha Phi Alpha Fraternity; 6th Henry A. Callis Alpha General President of Alpha Phi Alpha Co-founder of Alpha Phi Alpha Fraternity; Charles H.
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OBJ (Application/Pdf)
THE The Organ of Student Expression Sesmng Morehouse College Since 1898 VOL. 73, NO. 15 MOREHOUSE COLLEGE; ATLANTA, GEORGIA Thursday, May 17, 2001 Congratulations to the new 2001-2002 Maroon Tiger staff! Thursday, May 17 Geoffrey R. Bennett Dorian Burton Editor-in-Chief Arts & Entertainment 12:00-1:30 p.m. SENIOR APPRECIATION LUNCHEON Editor Morehouse Cafeteria James Britton 1:30-2:00 p.m. Charlene Cole SENIOR GROUP PICTURE Managing Editor King Chapel Plaza Sports Editor 2:00-4:30 p.m. Johnny Anderson REHEARSAL FOR BACCALAUREATE AND Philip Asbury COMMENCEMENT EXERCISES Copy Editor Photography Editor Martin Luther King Jr. International Chapel 4:30-5:30 p.m. RITES OF PASSAGE Christopher Eagjin Roger Spencer coordinated by College Staff Members and Campus News Editor Humphrey Alumni Association Place TBA Swing Editor Friday, May 18 Henry Thompson Shaun King 2:00-5:00 p.m. Wbr/d & Local News Editor Senior Columnist SENIORS PICK UP RESERVED TICKETS FOR PARENT SEATING AND OFFICIAL NAME CARDS TO RECEIVE DEGREE AT COMMENCEMENT George A. Peters II Gloster Hall, Room 100 Brandon Hudspeth Note: You must have your Clearance for Graduation Form Features Editor Business Manager with you to pick up your tickets, honor cords and cap and gown. W New School University Saturday, May 19 Robert J. Milano Graduate School 12:00-2:00 p.m. SENIORS PICK UP RESERVED TICKETS FOR PARENT of Management and Urban Policy SEATING AND OFFICIAL NAME CARDS TO RECEIVE DEGREE AT COMMENCEMENT Gloster Hall, Room 100 We are still accepting 2:30 p.m. ALUMNI & SENIOR CLASS MEMORIAL SERVICE CatlOOS TOF John Hope and Benjamin E.
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TRANSMISSION Preview Wednesday May 22Nd from 6Pm Exhibition from May 23Rd to June 22Nd, 2019
TRANSMISSION Preview Wednesday May 22nd from 6pm Exhibition from May 23rd to June 22nd, 2019 Zidoun-Bossuyt Gallery is pleased to announce TRANSMISSION, a group exhibition of paintings by Noel Anderson, Derek Fordjour, David Hammons, Glenn Ligon, Wangechi Mutu and Jeff Sonhouse. Noel Anderson Am I Blak Enuf 4 Ya? , 2019 Decolourante and dye on stretched Jacquard tapestry 50.8 x 40.6 cm From tattered old rugs to mechanically-produced tapestries, Anderson embeds a spectrum of fibers with found images and physical usage just long enough to fray their edges and challenge their legibility. Black Origin Moment continues this course as Anderson pushes his study into the fraught post-Ferguson era of Black Lives Matter and heightened racial tensions in the United States. Prompted by the provocative question, “when did you know you were black?” he collects oral, artifact-based and visual histories to ultimately restructure the origin and genealogy of black consciousness. The works in this show attempt to locate an elusive black essence by way of images which evoke moments where racial recognition is heightened but resolution is deferred. Noel Anderson was born in Louisville, Kentucky in 1981 and lives in New York City, NY. After receiving an MFA in Printmaking from Indiana University, he received an MFA in Sculpture from Yale University. He was a professor at the University of Cincinnati from 2011-2015 and is now an Assistant Professor at NYU’s Art and Art Professions Department in Print Media. Anderson was included in the Studio Museum of Harlem’s exhibition Speaking of People: Ebony, Jet, and Contemporary Art in 2014 and more recently held a remarkable solo show at the Contemporary Art Center of Cincinnati (February - June 2017).
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Every Day Some One of Us Were Carried to Our Last Resting, the Grave
“Every Day some one of us were carried to our last resting, the grave. No humane being can tell… yet we hear. Fate seems to curse a convict.” – Ezekiel Archey, letter to R.H. Dawson, 1884 Night Gallery is pleased to announce JRRNNYS, a solo exhibition of new paintings and sculptures by Derek Fordjour. The exhibition will run from February 2 through March 2, 2019, with an opening reception on Saturday, February 2, from 7–10pm. This is Fordjour’s first solo exhibition in Los Angeles. Fordjour’s new paintings advance explorations of earlier works, returning to the subjects of crowds and athletic competitions to illustrate the entrenchment of power relations, capital flows, and racial inequality within the economic and social systems of the United States. “Two Party System,” 2019, is the newest addition to the artist’s recent series of crowd paintings populated by figures arranged in densely packed compositions, their differences rendered in iconographic terms to convey an instantly legible cross-section of society. Here the blues and reds of the figures’ hats could refer just as easily to Democrats and Republicans, to Crips and Bloods, or to athletic rivals. Fordjour also presents a pair of portraits entitled “Worst to Be First,” 2019, which refers to the notion of “firsts” as markers of societal achievement. The works point to exceptionalism, questioning the extent to which pioneering figures are truly able to break down the barriers of long-standing systemic inequality. In the painting “Anderson-Marshall Grooming Salon,” 2019, Fordjour offers his own take on the barbershop painting in homage to forbearers Hurvin Anderson and Kerry James Marshall.
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Derek Fordjour SHELTER 2018
Gallery Guide Contemporary Art Museum St. Louis January 17– August 23, 2020 Derek Fordjour SHELTER 2018. Acrylic, charcoal, oil pastel, and foil on foil oil pastel, and charcoal, Acrylic, 2018. Backbend Double, Derek Fordjour, Derek the artist and Night 48 x 72 inches. Courtesy mounted on canvas, newspaper Angeles. Los Gallery, Derek Fordjour: SHELTER presents multiple bodies of effect of rain striking a tin roof. We are placed at the work that explore issues of race, identity, aspiration, heart of a storm. With detritus culled from the urban and inequality. Fordjour’s Player Portraits line the environment, the installation creates a place of safety Project Wall, forming a procession toward the amidst crisis and impending harm. SHELTER reminds exhibition’s entryway. Each portrait, from a series of us of the unstable conditions in which art is often made 100, is made through the artist’s signature process of and of human migrations across the earth, the millions layering and tearing, painting and repainting. Fordjour seeking shelter from a multiplicity of storms. employs and recycles humble materials—cardboard, Vulnerability is central to Fordjour’s work, and the newspaper, charcoal—making reference to the unsteadiness of dirt underfoot reinforces the fun- hand-me-downs that were passed along to relatives in house effect of his portraits and sculptures. Ghana, and the wear and tear of buildings he inhabited Hanging in this makeshift environment are Fordjour’s as a child in Memphis, Tennessee. The notion of making something out of nothing, and the dignity found in making something old new again, are themes evident in Fordjour’s material process.
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Ng Letterhead
! Night Gallery to represent Derek Fordjour and Wanda Koop MAR 30, 2018 – Night Gallery is proud to announce the addition of two exceptional artists to the gallery roster: Derek Fordjour and Wanda Koop. Night Gallery recently hosted Koop’s first US solo exhibition, In Absentia, in October 2017; Fordjour's first solo exhibition at Night Gallery will take place in January 2019. Night Gallery looks forward to advancing both artists' public presences in the US and abroad through programming at our exhibition space in Los Angeles as well as at domestic and international art fairs. For more information about these artists, please contact [email protected]. Images: Derek Fordjour, Two More Years, 2018; Wanda Koop, In Absentia (Black - Pearlescence Grey), 2016. 2276 EAST 16TH STREET, LOS ANGELES 90021 NIGHTGALLERY.CA ! Derek Fordjour (b. 1974) was born in Memphis, Tennessee to parents of Ghanaian heritage. His work has been exhibited in numerous venues including Sotheby's S2 Gallery in New York City, Roberts & Tilton Gallery in Los Angeles, and Galleria Monica DeCardenas in Switzerland. He was awarded 2016 Sugarhill Museum Artist-in-Residence, 2017 C12 Emerging Artist Award and the 2017 Sharpe Walentas Studio Program in New York City. He is a graduate of Morehouse College in Atlanta Georgia, earned a Master’s Degree in Art Education from Harvard University and an MFA in painting at Hunter College. His work has been reviewed in the New York Times, Los Angeles Times, Hyperallergic and Brooklyn Rail. He has also been featured in several publications such as Forbes Magazine, ESPN’s The Undefeated and VICE Creators.
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Derek Fordjour Guest Curated by No Longer Empty’S Manon Slome, the Exhibit Will Be on View July 27, 2017 Through January 18, 2018
FOR IMMEDIATE RELEASE THE SUGAR HILL CHILDREN’S MUSEUM OF ART + STORYTELLING PRESENTS ITS SUMMER EXHIBITION, PARADE: Derek Fordjour Guest Curated by No Longer Empty’s Manon Slome, the exhibit will be on view July 27, 2017 through January 18, 2018 PRESS PREVIEW: Wednesday, July 26, 2017 from 6-7:00pm Sugar Hill Children’s Museum 898 St. Nicholas Avenue New York, NY 10032 RSVP to [email protected] NEW YORK, NY, June 6 - The Sugar Hill Children’s Museum of Art & Storytelling is proud to announce its summer exhibition PARADE: Derek Fordjour, an immersive multi-media installa- tion on view July 27, 2017. PARADE takes visitors on a journey through the sense-memory of childhood and the process of forging an identity, and harkens back to Fordjour’s own curiosities, observations, and obses- sions as a child artist growing up in Memphis, Tennessee. At once playful and poignant, disori- enting and propulsive, PARADE encapsulates Fordjour’s life in pursuit of art while engaging and inspiring adults and children alike. The exhibition is the culmination of Fordjour’s yearlong artist residency at the Museum and was guest curated by No Longer Empty’s Manon Slome, who co- led the Sugar Hill Children’s Museum’s 2016-17 AIR selection process with the Northern Man- hattan Arts Alliance. The installation begins with a tunnel, supported by lighted archways and reminiscent of the marquees at an amusement park, which guides visitors into the exhibition space. The composi- tions on display represent a broad swath of Fordjour’s artistic practice. There are new “works on paper,” Fordjour’s term for his signature and highly textured collages of newsprint, and a pro- cession of vignettes, small sculptures, found objects, interventions, and music, which leads to in a non-place entered by stooping through an opening in the back of a closet.
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Derek Fordjour
2276 E. 16th Street, Los Angeles, California 90021 nightgallery.ca DEREK FORDJOUR Lives and works in New York, NY. EDUCATION 2016 MFA, Hunter College, New York, NY 2002 Ed.M., Harvard University, Cambridge, MA 2001 BA, Morehouse College, Atlanta, GA Pratt Institute College of Art and Design SOLO EXHIBITIONS 2021 Pond Society, Shanghai, China (forthcoming) 2020 SELF MUST DIE, Petzel Gallery, New York, NY SHELTER, Contemporary Art Museum of St. Louis, St. Louis, MO 2019 The House Always Wins, Josh Lilley Gallery, London, UK JRRNNYS, Night Gallery, Los Angeles, CA 2018 Half Mast, The Whitney Museum of American Art Billboard Project, New York, NY Derek Fordjour: Camelot Study, BAM, Brooklyn, NY Zona Maco, Mexico City, MX Ritual, Nina Johnson Gallery, Miami, FL 2017 PARADE, Sugar Hill Museum, New York, NY 2016 Agency & Regulation, LUCE Gallery, Turin, Italy Derek Fordjour : Eight Paintings, Papillion Art, Los Angeles, CA 2015 UPPER ROOM, Robert Blumenthal Gallery, New York, NY Meritocracy, Jack Bell Gallery, London, UK 2014 The Big Game, Storefront Ten Eyck Gallery, Brooklyn, NY 2013 Sciame Artist’s Salon Series Exhibition, Sciame Corporate Gallery, New York, NY Built Environments: Inaugurations with Felandus Thames, Columbia University Russ Barrie Pavillion, New York, NY SELECTED GROUP EXHIBITIONS 2021 Sugar Hill Children’s Museum of Art and Storytelling, New York, NY (forthcoming) 2020 100 Drawings from Now, Drawing Center, New York, NY Private View: Selections from ABHK, Petzel Gallery, New York, NY Open Air, LUCE Gallery, Turin, Italy
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Derek Fordjour
DEREK FORDJOUR born 1974, Memphis, TN lives and works in New York, NY EDUCATION 2016 MFA, Hunter College, New York, NY 2002 Ed.M., Harvard University, Cambridge, MA 2001 B.A., Morehouse College, Atlanta, GA Pratt Institute College of Art and Design, New York, NY SELECTED SOLO / TWO PERSON EXHIBITIONS (* Indicates a publication) 2021 Gestalt, Pond Society, Shanghai, China 2020 SELF MUST DIE, Petzel Gallery, New York, NY SHELTER, Contemporary Art Museum of St. Louis, St. Louis, MO 2019 The House Always Wins, Josh Lilley, London, England JRRNNYS, Night Gallery, Los Angeles, CA 2018 Half Mast, The Whitney Museum of American Art Billboard Project, New York, NY Derek Fordjour: Camelot Study, BAM, Brooklyn, NY Ritual, Nina Johnson Gallery, Miami, FL 2017 PARADE, Sugar Hill Museum, New York, NY 2016 Agency & Regulation, LUCE Gallery, Turin, Italy Derek Fordjour: Eight Paintings, Papillion Art, Los Angeles, CA 2015 UPPER ROOM, Robert Blumenthal Gallery, New York, NY Meritocracy, Jack Bell Gallery, London, England 2014 The Big Game, Storefront Ten Eyck Gallery, Brooklyn, NY [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 2013 Sciame Artist’s Salon Series Exhibition, Sciame Corporate Gallery, New York, NY Built Environments: Inaugurations with Felandus Thames, Columbia University, New York, NY Russ Barrie Pavillion, New York, NY SELECTED GROUP EXHIBITIONS (* Indicates a publication) 2021 But No Elephants!, Sugar Hill Children’s Museum of Art and Storytelling, New York, NY The Slipstream: Reflection,
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Derek Fordjour Lives and Works in New York, NY EDUCATION 2016
Derek Fordjour Lives and works in New York, NY EDUCATION 2016 MFA, Hunter College, New York, NY 2002 Ed.M., Harvard University, Cambridge, MA 2001 BA, Morehouse College, Atlanta, GA Pratt Institute College of Art and Design SOLO EXHIBITIONS 2019 [upcoming] Night Gallery, Los Angeles, CA 2018 Derek Fordjour: Camelot Study, BAM, Brooklyn, NY Zona Maco, Mexico City, MX Ritual, Nina Johnson Gallery, Miami, FL 2017 PARADE, Sugar Hill Museum, New York, NY 2016 Agency & Regulation, LUCE Gallery, Turin, Italy Derek Fordjour : Eight Paintings, Papillion Art, Los Angeles, CA 2015 UPPER ROOM, Robert Blumenthal Gallery, New York, NY Meritocracy, Jack Bell Gallery, London, UK 2014 The Big Game, Storefront Ten Eyck Gallery, Brooklyn, NY 2013 Sciame Artist’s Salon Series, Sciame Corporate Gallery, New York, NY Built Environments: Inaugurations with Felandus Thames, Columbia University Russ Barrie Pavillion, New York, NY SELECTED GROUP EXHIBITIONS 2018 Fun House, Josh Lilley Gallery, London, UK Invincible Summer, Galerie Mikael Andersen, Copenhagen, DK Cliché, Almine Rech Gallery, New York, NY Everyday Muse, ltd Gallery, Los Angeles, LA Reclamation!, The Taubman Museum, Roanoke, VA Sidelined, Galerie Lelong, New York, NY 2017 Reinventing the Figure, Galleria Monica de Cardenas, Zuoz, Switzerland Diamonds, Rings and Courts, Geoffrey Yeh Art Gallery at St. John’s University, NY All That Glitters, Rachel Uffner Gallery, New York, NY Selections, Elizabeth Dee Gallery, New York, NY 2016 Human Condition, The former L.A. Metropolitan Medical Center, Los Angeles,
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DEREK FORDJOUR JRRNNYS February 2 – March 2, 2019
DEREK FORDJOUR JRRNNYS February 2 – March 2, 2019 “Every Day some one of us were carried to our last resting, the grave. No humane being can tell… yet we hear. Fate seems to curse a convict.” – Ezekiel Archey, letter to R.H. Dawson, 1884 Night Gallery is pleased to announce JRRNNYS, a solo exhibition of new paintings and sculptures by Derek Fordjour. The exhibition will run from February 2 through March 2, 2019, with an opening reception on Saturday, February 2, from 7–10pm. This is Fordjour’s first solo exhibition in Los Angeles. Fordjour’s new paintings advance explorations of earlier works, returning to the subjects of crowds and athletic competitions to illustrate the entrenchment of power relations, capital flows, and racial inequality within the economic and social systems of the United States. “Two Party System,” 2019, is the newest addition to the artist’s recent series of crowd paintings populated by figures arranged in densely packed compositions, their diferences rendered in iconographic terms to convey an instantly legible cross-section of society. Here the blues and reds of the figures’ hats could refer just as easily to Democrats and Republicans, to Crips and Bloods, or to athletic rivals. Fordjour also presents a pair of portraits entitled “Worst to Be First,” 2019, which refers to the notion of “firsts” as markers of societal achievement. The works point to exceptionalism, questioning the extent to which pioneering figures are truly able to break down the barriers of long-standing systemic inequality. In the painting “Anderson- Marshall Grooming Salon,” 2019, Fordjour ofers his own take on the barbershop painting in homage to forbearers Hurvin Anderson and Kerry James Marshall.
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Brother Gregory S. Parks, J.D., P H.D
A RESOURCE GUIDE TO THE SPHINX: THE OFFICIAL ORGAN OF ALPHA PHI ALPHA FRATERNITY BROTHER GREGORY S. PARKS, J.D., PH.D. MAY 2017 INTRODUCTION In December of 1913, at the Sixth General Convention, hosted by Beta Chapter, one achievement was the creation of a fraternity journal. The idea seems to have been born at Gamma Chapter many years prior to 1913. General President Charles Herbert Garvin formally recommended it at the Fifth General Convention in 1912; however, no action was taken on it. One of General President Garvin’s first acts at the Sixth General Convention was to appoint a Committee on the Journal. The Committee not only recommended the establishment of a journal but that it should be titled the Sphinx—that it should be published monthly from October to May of each year. It was later decided that the journal would be a quarterly publication. The brother who was to serve as the Fraternity’s Vice-President was also to serve as Editor-in-Chief with the Printing Committee Chair also serving as the journal’s Business Manager. Fifty cents was recommended as the subscription and was to be added to the Grand Tax. The first Editor-in-Chief was Brother Raymond Winfred Cannon, and the first issue appeared in March 1914. Aside from the N.A.A.C.P.’s The Crisis magazine, The Sphinx would go on to become the longest, continually in-print African American magazine. Strikingly, among the journals of the National Pan-Hellenic Council organizations, only Alpha Kappa Alpha Sorority’s The Ivy Leaf magazine has had any scholarly analysis conducted on it.1 The Ivy Leaf is also the only one of these journals that has been archived in a way that makes it accessible to researchers.2 This project is intended to do two things: (1) provide basic biographical information about the Editors- in-Chief of The Sphinx from 1914-2014; and (2) chronicle the contents of The Sphinx from 1914-2014.
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