Aisha Tandiwe Bell Work | Artist Statement & CV | Return to Artist List
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Artist Statement
As I breast-feed my six-week old son while rewriting this statement, I realize, my work is deeply personal. It always has been. I am a reflection of society. So the work is a dual narrative, always commenting on public and internal identities tied to race, sex and class. I use to paint people trapped in the two-dimensional space of the canvas but for the last ten years I’ve been making clay heads, life size high-relief portraits of stereotypes, mostly women, all black, my altered egos. Their bodies have always been drawn. Believing awareness is the first step to freedom, I sculpted the consciousness pushing into the third dimension as a metaphor, for revolution. These heads became mask that I wore in performances and videos to depict the weight and burden of identity. Realizing that we unconsciously embrace some categories, the work began an exploration of individual, insecurities, self prescribed traps, walls, armor, masks, and stereotypes that are worn/carried out of habit, comfort, and fear.
In 2008 there was a shift. I made a piece specifically about the middle passage “Breaking Head”. A woman in white drags a heavy train of child size bone-white clay heads/mask up steep concrete stairs. The shell like heads shatter as she climbs. She comes back to pick up the pieces. The audio narrative that accompanies the action describes a woman preparing her home for guest, welcoming them, and cleaning up the mess left behind. As I edited this piece I realized that it simultaneously spoke loudly of my recent marriage, the birth of my first child, and the fear of how seriously an artist mother would be taken in a seemingly childless art world. It also introduced “multiple consciousness”. Influenced by Du Boisian “double consciousness” and Jacques Lacan’s shape shifting subconscious, I realized that as a Black African Caribbean American Artist, Educator, Mother and Wife from Brooklyn I wear many hats. We have many identities and like chameleons they shift according to our surroundings. Interested in African and Indigenous ideas of “the trickster” and “the crossroads”, My “getting a head”, “putting our heads together”, “bootstrapping”, and “chasing de crown” series all speak to our ability to transform, resist and escape traps while exploring ideas of transformation, multiplicity, indecision, confusion and balance.
At times I feel foolish for pursuing a career that is not only white and male dominated but also has a success ratio tantamount to becoming a famous rapper.
However I need to leave my fingerprints on this planet. I need to effect change. I need to share my work and create moments of inspiration with my audience. I need to do this through my art. My work is a compulsion that has had me installing, baby in sling, five days after giving birth. In 2005 I received a NYFA fellowship. That grant gave me the confidence to pursue my art fulltime. Every show, residency, grant or positive feedback that I receive, motivates me to work towards a legacy I need to leave behind.
As I breast-feed my six-week old son while rewriting this statement, I realize, my work is deeply personal. It always has been. I am a reflection of society. So the work is a dual narrative, always commenting on public and internal identities tied to race, sex and class. I use to paint people trapped in the two-dimensional space of the canvas but for the last ten years I’ve been making clay heads, life size high-relief portraits of stereotypes, mostly women, all black, my altered egos. Their bodies have always been drawn. Believing awareness is the first step to freedom, I sculpted the consciousness pushing into the third dimension as a metaphor, for revolution. These heads became mask that I wore in performances and videos to depict the weight and burden of identity. Realizing that we unconsciously embrace some categories, the work began an exploration of individual, insecurities, self prescribed traps, walls, armor, masks, and stereotypes that are worn/carried out of habit, comfort, and fear.
In 2008 there was a shift. I made a piece specifically about the middle passage “Breaking Head”. A woman in white drags a heavy train of child size bone-white clay heads/mask up steep concrete stairs. The shell like heads shatter as she climbs. She comes back to pick up the pieces. The audio narrative that accompanies the action describes a woman preparing her home for guest, welcoming them, and cleaning up the mess left behind. As I edited this piece I realized that it simultaneously spoke loudly of my recent marriage, the birth of my first child, and the fear of how seriously an artist mother would be taken in a seemingly childless art world. It also introduced “multiple consciousness”. Influenced by Du Boisian “double consciousness” and Jacques Lacan’s shape shifting subconscious, I realized that as a Black African Caribbean American Artist, Educator, Mother and Wife from Brooklyn I wear many hats. We have many identities and like chameleons they shift according to our surroundings. Interested in African and Indigenous ideas of “the trickster” and “the crossroads”, My “getting a head”, “putting our heads together”, “bootstrapping”, and “chasing de crown” series all speak to our ability to transform, resist and escape traps while exploring ideas of transformation, multiplicity, indecision, confusion and balance.
At times I feel foolish for pursuing a career that is not only white and male dominated but also has a success ratio tantamount to becoming a famous rapper.
However I need to leave my fingerprints on this planet. I need to effect change. I need to share my work and create moments of inspiration with my audience. I need to do this through my art. My work is a compulsion that has had me installing, baby in sling, five days after giving birth. In 2005 I received a NYFA fellowship. That grant gave me the confidence to pursue my art fulltime. Every show, residency, grant or positive feedback that I receive, motivates me to work towards a legacy I need to leave behind.
CV
Aisha Tandiwe Bell www.superhueman.com
917.754.3291 aisha@superhhueman.com
Education
2008 M.F.A Ceramics, Hunter College, New York, NY
2006 Skowhegan School of Painting and Sculpture, Skowhegan Maine.
1999 M.S. Art and Design Education (focus in Painting) Pratt Institute, Brooklyn, NY.
1998 B.F.A Painting and Art Education, (Minor in Cultural Studies) Pratt Institute, Brooklyn, NY
SELECTED Exhibitions
2010
A.I.Rspace, Abrons Art Center , New York NY
American Ship, Junto Meeting Center, Brooklyn NY
Urban Jungle, Downtown Brooklyn Partnership, Brooklyn,NY Wearing Spirit, CCCADI. New York NY
Art/Works in the Spirit, Union Theological Seminary, New York NY
2009
Getting A head, Corridor Gallery, Brooklyn NY (solo)
From Africa to America, Iona College Council of the Arts, New Rochelle, NY
2008
Reel Sisters Film Festival, The Kumble Theater, Brooklyn NY
Breaking Head, Hunter College Time Square Gallery, New York NY
The Black, Madonna The Rosa Parks Museum, Montgomery AL: traveling to The National Museum of Catholic Art, New York NY, Castle Gallery, New Rochelle, NY (2005-2008)
2007 The Postmillennial Black Madonna, MOCADA & Skylight Gallery, Brooklyn NY
2006 The Pulse of New Brookly,n Museum of Contemporary African Diasporan Art, Brooklyn NY
2005 Project Diversity, Sputnik Gallery, Brooklyn NY
2004 Eve, Rush arts Foundation, New York, NY
Black history month, Brooklyn Borough Hall, Brooklyn NY
A Blues for Nina, BMCC, New York, NY.
2003 Fundraiser MOCADA MUSEUM, Brooklyn, NY .
2002 Eros Negras, Afro-American Cultural Center, Charlotte, NC.
2002 Challenge Exhibition, Skylight Gallery, Brooklyn, NY
Women’s Work, NYC Urban Experience Museum, New York, NY
Mostly Emerging, Corridor Gallery, Brooklyn NY
2001 Looking through Stone Walls, Grand Army Plaza library, Brooklyn NY (solo)
Awards residencies and Fellowships
2009-10 Artist In Residence, Abrons Art Center Henry Street Settlement, New York NY
2009 Summer Artist in Residence, In Practice at the Rush Arts Foundation’s Corrider Gallery, Brooklyn NY
2009 Nominated for The Rema Hort Mann and The Louis Comfort Tiffany grants
2007 Hunter College Travel Grant (South Africa)
2006 Camille Hank Cosby Fellowship (Skowhegan)
2005 NYFA New York Foundation for the Arts fellow in Performance Art/ Multidisciplinary Work
SELECTED BIBLIOGRAPHY
2010 Arterberry, Marissa “AiSHA TANDIWE BELL DISCUSSES CHASING THE CROWN.” Societyhae.com, May 31,2010 (video interview)
Traven, ABRONS ARTIST “AIR OUT” thelowdownny.com, May 28,2010
Robinson, Kenya “BATH IN A BUCKET.” kenyaworkspace.blogspot.com, April 14, 2010
2009 Marissa ArterBerry “PERFORMANCE AISHA TANDIWE BELL.” Soul Goddess.blogspot.com, September 12, 2009
2007 Ogunnaike, Lola. “COLLECTIONS: A Museum Grows In Brooklyn.” New York Times, March 28,2007
2006 Curtis, Lisa J “A NEW HOME” The Brooklyn Paper, May 27, 2006
Miller, Leigh Anne “ NEW HOME FOR AFRICAN DIASPORA MUSEUM” Art in America, May 1, 2006
2004 Mccallister, Jared. “ARTIST PAY HOMAGE TO JAZZ DIVA NINA SIMONE.” New York Daily News, March 28t, 2004
2002 Dewees, Gayle. “ SKYLIGHT GALLERY OFFERS RANGE OF ART.” New York Daily News, September 5, 2002
LECTURES / ARTIST TALKS
2007 Skylight Gallery, BKLYN NY, Panel wi/ Sherman Fleming, Wanda Raimundi Ortiz & Keisha Scarville moderated by
Wangechi Mutu .
Museum of Fine Arts, Boston MA, Panel Discussion ‘Racing Yourself’, with Senga Nengudi and Dread Scott
2006 MOCADA, Brooklyn NY, Artist Talk 2002 Corridor Gallery Brooklyn NY, Artist Talk and Performance
2001 Grand Army Plaza library, Brooklyn NY, Artist Talk
Aisha Tandiwe Bell www.superhueman.com
917.754.3291 aisha@superhhueman.com
Education
2008 M.F.A Ceramics, Hunter College, New York, NY
2006 Skowhegan School of Painting and Sculpture, Skowhegan Maine.
1999 M.S. Art and Design Education (focus in Painting) Pratt Institute, Brooklyn, NY.
1998 B.F.A Painting and Art Education, (Minor in Cultural Studies) Pratt Institute, Brooklyn, NY
SELECTED Exhibitions
2010
A.I.Rspace, Abrons Art Center , New York NY
American Ship, Junto Meeting Center, Brooklyn NY
Urban Jungle, Downtown Brooklyn Partnership, Brooklyn,NY Wearing Spirit, CCCADI. New York NY
Art/Works in the Spirit, Union Theological Seminary, New York NY
2009
Getting A head, Corridor Gallery, Brooklyn NY (solo)
From Africa to America, Iona College Council of the Arts, New Rochelle, NY
2008
Reel Sisters Film Festival, The Kumble Theater, Brooklyn NY
Breaking Head, Hunter College Time Square Gallery, New York NY
The Black, Madonna The Rosa Parks Museum, Montgomery AL: traveling to The National Museum of Catholic Art, New York NY, Castle Gallery, New Rochelle, NY (2005-2008)
2007 The Postmillennial Black Madonna, MOCADA & Skylight Gallery, Brooklyn NY
2006 The Pulse of New Brookly,n Museum of Contemporary African Diasporan Art, Brooklyn NY
2005 Project Diversity, Sputnik Gallery, Brooklyn NY
2004 Eve, Rush arts Foundation, New York, NY
Black history month, Brooklyn Borough Hall, Brooklyn NY
A Blues for Nina, BMCC, New York, NY.
2003 Fundraiser MOCADA MUSEUM, Brooklyn, NY .
2002 Eros Negras, Afro-American Cultural Center, Charlotte, NC.
2002 Challenge Exhibition, Skylight Gallery, Brooklyn, NY
Women’s Work, NYC Urban Experience Museum, New York, NY
Mostly Emerging, Corridor Gallery, Brooklyn NY
2001 Looking through Stone Walls, Grand Army Plaza library, Brooklyn NY (solo)
Awards residencies and Fellowships
2009-10 Artist In Residence, Abrons Art Center Henry Street Settlement, New York NY
2009 Summer Artist in Residence, In Practice at the Rush Arts Foundation’s Corrider Gallery, Brooklyn NY
2009 Nominated for The Rema Hort Mann and The Louis Comfort Tiffany grants
2007 Hunter College Travel Grant (South Africa)
2006 Camille Hank Cosby Fellowship (Skowhegan)
2005 NYFA New York Foundation for the Arts fellow in Performance Art/ Multidisciplinary Work
SELECTED BIBLIOGRAPHY
2010 Arterberry, Marissa “AiSHA TANDIWE BELL DISCUSSES CHASING THE CROWN.” Societyhae.com, May 31,2010 (video interview)
Traven, ABRONS ARTIST “AIR OUT” thelowdownny.com, May 28,2010
Robinson, Kenya “BATH IN A BUCKET.” kenyaworkspace.blogspot.com, April 14, 2010
2009 Marissa ArterBerry “PERFORMANCE AISHA TANDIWE BELL.” Soul Goddess.blogspot.com, September 12, 2009
2007 Ogunnaike, Lola. “COLLECTIONS: A Museum Grows In Brooklyn.” New York Times, March 28,2007
2006 Curtis, Lisa J “A NEW HOME” The Brooklyn Paper, May 27, 2006
Miller, Leigh Anne “ NEW HOME FOR AFRICAN DIASPORA MUSEUM” Art in America, May 1, 2006
2004 Mccallister, Jared. “ARTIST PAY HOMAGE TO JAZZ DIVA NINA SIMONE.” New York Daily News, March 28t, 2004
2002 Dewees, Gayle. “ SKYLIGHT GALLERY OFFERS RANGE OF ART.” New York Daily News, September 5, 2002
LECTURES / ARTIST TALKS
2007 Skylight Gallery, BKLYN NY, Panel wi/ Sherman Fleming, Wanda Raimundi Ortiz & Keisha Scarville moderated by
Wangechi Mutu .
Museum of Fine Arts, Boston MA, Panel Discussion ‘Racing Yourself’, with Senga Nengudi and Dread Scott
2006 MOCADA, Brooklyn NY, Artist Talk 2002 Corridor Gallery Brooklyn NY, Artist Talk and Performance
2001 Grand Army Plaza library, Brooklyn NY, Artist Talk
“Run duppy na leggo”(run the ghost will ride you). 2008 still from performance video 5 min 35 sec. I carry a life size clay bust of a woman on my back. I attempt to get rid of this woman all the while holding on.
“Breaking Head” (procession) 20”x30” 2008. Inkjet print on archival watercolor paper still form a performance and six minute video. A bride climbs concrete steps dragging a train of ceramic heads behind her. It is a violent union. In the video progress is made during the upward climb, but what is sacrificed and is it a sacrifice or is it freedom? The broken heads are at once the celebratory cans, chimes, noisemakers on the back bumper of newly weds, cruel cans attached to the tail of a dog, or bells attached to a recurrent runaway slave. Installed the video is projected in a room filled with 506 clay heads, one for each documented year since Africans were brought to the Americas as slaves.
“blue bath” 2009 performance still. 12 minutes.I gave Everyone in the audience two clay heads to beat together I sing and dance to the music created by the audience. They keep playing as I take a blue bath that dyes my clothing. The skirt is used in a later installation.
“putting our heads together” 2010 performance still.I gave Everyone in the audience two clay heads to beat together (getting ahead, putting our heads together) to create a natural spontaneous rhythm. My movements are effected by the rhythm and the rhythm responds to my movement. The heads shatter as I move.
“getting a head” 2009 8’x10”x22’. clay, ink, gold cord, dyed skirt from bath performance. Attached to their heads, beneath their feet and at the end of her gold leashes are multiple clay heads.
getting a head” 2009 8’x10”x9’. clay, ink, gold cord, dyed skirt from bath performance. Attached to her head, beneath her feet and at the end of her gold reigns are multiple clay heads.
Chasing de Crown” 2010 life size installation. Clay, gold cord, gold leaf, ink, ink, tempura. The crowns suspended in front can be worn by the viewer.
“Chasing de Crown” 2010 life size installation. Detail
“de Crown” 2010 life size installation. Meant to be worn this piece is suspended from the ceiling and made up of 23 clay heads/masks
"De crown being worn" 2010 Clay and tempura, size variable. This work is hung from the ceiling by weight tested wire. it is about 10 pounds and made up of 18 small clay mask.
“Aint I’m Clean?!” 2007 still from 7 minute video. Both question and statement, this video explores and ask questions about fear, guilt , and shame as it explores the psychological impact of living in a culture of white supremacy. The woman eventually takes a bath with her mask scrubbing off the color and staining the tub.
“Chameleon,” 12’x12”x6” 2009 (on going), clay, fabric, tempera, ink. This work is meant to completely fill a room. Each figure is life size. Each fabric is a metaphor. For an alternate identity or moment in an individual’s life
“Couple and Baggage” 6’2”x 4’3”x6”.2009 Clay, acrylic, fabric, Indian ink (this work is life size)
"on my back" 3’9”x 2’7”x 7.5”. January 2009 Clay, acrylic, fabric, Indian ink, gold twine
“Misery a ride me, an a me put are de,(misery is riding me and I put her there)” 2009, 32"x24"x3" paper, graphite, tempera, collage gold cord, gold leaf.
“Kite” 2010 12”x14”. paper, graphite, copper leaf, collage,
"two-faced" 12”x14”. 2010 paper, graphite, copper leaf, collage
"swing" 14”x20” 2010 paper, graphite, copper leaf, collage, tempura
"pull" 9”x12” 2010Paper, graphite, acrylic
"boot-strapping" 2009 9”x12” Paper, graphite, acrylic