153:"there were pages detailing Barnette’s movements, his work with fellow activists Angela Davis, John and Ericka Huggins; there were notes from former FBI agent James W. McCord, Jr., who was later arrested for his own role in the Watergate scandal; there was testimony from neighbors, coworkers, who roundly praised his character; there was family history: the birthdates of his siblings, the place where his mother was born. As jarringly intimate as the files sometimes felt, the gulf between the FBI’s portrayal of Barnette’s life and the reality and fullness of it was staggering."
319:, "such child-like embellishments are whimsical touches that draw the viewer in, but these add-ons are only playing dress-up on much wilder realities." These interventions are an attempt to reclaim her family history. Included in the exhibition is a black and white wallpapered wall created from signatures and seals found in the file. On this wallpaper hang a pair of photographs of her father, Rodney Barnette, "in one photograph, he is in Navy uniform
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tessellated photo-wallpaper that showed a child sitting in a wicker “Huey Newton” chair; in the bags of Hello Kitty cotton candy strewn around the gallery; and in an acrylic glitter bar – part object, part sculpture – installed on the third floor. Pink spelled out PRESTO DINERO (I LEND MONEY) on a
Spanish-language payday loan sign, supplied the ground in the abstract painting
323:. In another, his black leather jacket, turtleneck, and beret signal his role as founder of the Compton Chapter of the Black Panther party in “Untitled (Dad, 1966 and 1968)” (2016)." Through this exhibition "the work proposes changing the conditions of the world, turning the past of racial profiling into a loyal tribute to her dad."
138:). This FBI program "had successfully carried out a complex network of operations aimed to discredit, dismantle, and destroy Black radical activists, organizations, and movements". As a result, his everyday movements and activities were under constant surveillance. He was ultimately fired from his job at the
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For this exhibition, Barnette presented many of her father's FBI files that she intervened in with spray paint and glitter. The artist's marks on the files, " an act of vandalism—an invaded home, reshuffled and spattered and spilled-on papers—as much as it does a daughter’s loving, slightly coy stamp
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in 2015, showcased work created by
Barnette during her year-long residency at the museum. Barnette exhibited, "meticulous graphite drawings of words, including names: “Uncle Rodney’s daughter,” “Luverne and Sadie’s granddaughter,” “Youngest niece of: Margaret, Vivian, Luverne, Stanley, Carl, Aubrey,
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Barnette's work takes various forms and uses a variety of media, including drawing, photography, and large-scale installation to explore the relationship between her personal history, black history, US history, and the political. Through the use of found objects, glitter, gold frames, text, family
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For
Barnette, her father’s FBI file becomes the source material through which she materializes the complex politics of inheritance between black liberation struggles of the long 1960s and their impacts upon her own sense of self. Barnette mines the FBI file as a personal archive, and in so doing
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Blackness – its social constructions, structures of signification, material cultures, oppressions, and modes of resistance – is pronounced and urgent in
Barnette’s work. The color pink also presents again and again, from baby to bubble-gum to hot fuchsia, in the pulsating chevrons of Barnette’s
149:. Since then, Barnette has used the file as raw material for her work. The file includes various family documents including: family trees, names of relatives, birthdays, military awards, and interviews with her father's employers, high school teachers, and his childhood neighbors. Also,
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in 1968. For this exhibition
Barnette, responds to the intimate details of the FBI files by intervening in them by redacting information with stickers, paint splashes, and spray paint, while also embellishing with glitter, vinyl, and rhinestones. As reported on in
200:. The written component of this exhibition was an experimental text which Barnette wrote aimed to "use the written word to generate an experience for the reader that functions similarly to one's experience of actually viewing the corresponding art exhibition."
249:, "Barnette detourns documents from five hundred pages of surveillance – obtained by the Barnette family via the Freedom of Information Act – into text-based artworks touched with stains and semitransparent fields of aerosol paint."
261:, her embellishments seem to insist; the fierce, rebellious energy of a crayoned wall or a graffiti-tagged billboard, a sort of Pink Panther mark on a Black Panther life. “I wanted to repair some of the trauma,” Sadie said "
284:
invoked "a fictive space sublating
Compton and Oakland, California, '90s hip-hop, and '60s Black Power." In this exhibition, as in all of her work, blackness and the African American identity and experience is explored.
310:" (2018) Barnette pulled from her personal and family history by using family photographs and selections from the FBI files on her father Rodney Barnette, compiled on him after he joined the
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photographs, and her father's (Rodney
Barnette) FBI files, her work links her personal and family story to a national and political history. In E-Flux Journal #79,
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Alvin, Lesley, Irwin and John.” The results, a family genealogy assembled by first-names only, feels both rigorous and casual, and potentially open-ended."
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as a result of his activities. Her father's involvement with the Black
Panthers and the FBI files have, and continue to, influence her work.
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Young, gifted and Black : a new generation of artists : Lumpkin-Boccuzzi Family
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Sadie
Barnette was born in 1984 in Oakland, California. Barnette's father Rodney Ellis Barnette, was a member of the
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In 2016, Barnette had her first solo show in New York City at the Baxter St at the Camera Club of New York, titled
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then traveled to the "Baxter St at the Camera Club of New York" and became the artist's first solo exhibition in
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479:"Material Matters: Black Radical Aesthetics and the Limits of Visibility - Journal #79 February 2017 - e-flux"
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2016, and popped from behind a chain-link fence embellished with Swarovski crystals in the photograph
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in 2017, included a group of five framed COINTELPRO documents, selections from her ongoing project
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on the typewritten documentation of her father’s life. This is ours now, this is
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617:"Black Panthers 50 years on: art show reclaims movement by telling 'real story'"
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In 2016, her family gained access to her father's 500 page FBI file through the
799:"Review: 'Everything, Everyday' Explores Affinities at Studio Museum in Harlem"
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891:"A Sordid Story of FBI Oppression Told Through Spray Paint, Glitter, and Toys"
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manipulates the documents therein towards a radical aesthetic materialization.
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at the University of California, Davis and traveled to two other venues, the
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1043:"Familial and Collective Histories: Artist Talk with Sadie Barnette"
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which featured selections from the files. This work debuted at the
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Drawing, photography, large-scale installation exploring Black life
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put Rodney Barnette on the Counterintelligence Program watchlist (
1070:"Sadie Barnette and Carrie Hott Win San Francisco Artadia Awards"
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vinyl lettering, and photocollages. The title of the exhibition,
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587:"A Panther's Story Becomes Art | Oakland Museum of California"
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Installation images of Compland exhibition at Fort Gansevoort
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of ArtForum writes of Barnette's Fort Gansevoort exhibition:
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1018:"My Father's FBI File; Government Employees Installation"
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Her work is included in the permanent collections of
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Collection of the California African American Museum
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192:(2006), and an MFA degree in Visual Arts from the
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504:Simmons, William J. (December 17, 2017).
426:. New York, NY: D.A.P. pp. 252–253.
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837:"Sadie Barnette_Art Forum_December 2017"
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448:"CHARLIE JAMES GALLERY | Sadie Barnette"
345:The first monograph of Barnette's work,
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1068:Greenberger, Alex (September 7, 2017).
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196:(2012). Her MFA thesis was titled
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1197:Artists from Oakland, California
967:"#5WomenArtists: Sadie Barnette"
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342:'s Cantor Fitzgerald Gallery.
300:Untitled (Pink fence sparkle),
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916:"Sadie Barnette: Dear 1968,…"
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328:Sadie Barnette: Dear 1968,...
308:Sadie Barnette: Dear 1968,...
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278:My Father’s FBI File, 2016-,
245:in which, as reported on by
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163:Oakland Museum of California
140:United States Postal Service
96:http://www.sadiebarnette.com
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996:The Studio Museum in Harlem
332:Manetti Shrem Museum of Art
243:My Father’s FBI File, 2016-
34:1984 (age 39–40)
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1095:"Sadie Barnette - Artadia"
165:as part of its exhibition
147:Freedom of Information Act
422:Sargent, Antwaun (2020).
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366:Cornell Fine Arts Museum
374:Studio Museum in Harlem
330:" was organized by the
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485:. E-Flux, Journal #79
452:www.cjamesgallery.com
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264:Barnette's solo show
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998:. September 10, 2020
231:Everything, Everyday
1172:The Guardian review
922:. February 28, 2018
729:. December 22, 2016
358:Berkeley Art Museum
347:Legacy & Legend
312:Black Panther Party
124:Black Panther Party
1049:. January 31, 2020
803:The New York Times
678:. January 19, 2017
593:. November 5, 2016
866:Baxter St at CCNY
510:Cultured Magazine
340:Haverford College
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254:Do Not Destroy.
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399:Carrie Hott
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1181:Categories
409:References
382:Guggenheim
380:, and the
372:in Miami,
287:Chloe Wyma
136:COINTELPRO
118:Early life
76:Occupation
1053:August 5,
1027:August 5,
1002:August 5,
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871:August 5,
811:0362-4331
761:(Thesis).
733:March 26,
727:Baxter St
707:March 26,
540:March 26,
457:March 26,
282:Compland,
207:in 2018.
184:Education
51:Education
1155:Compland
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1079:April 8,
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220:writes,
46:American
1099:Artadia
1074:ARTnews
531:"about"
233:at the
128:Compton
112:Oakland
92:Website
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401:(2017)
388:Awards
368:, the
364:, the
360:, the
651:Vogue
397:with
354:LACMA
302:2017.
1131:2019
1106:2018
1081:2018
1055:2021
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1004:2021
978:2021
953:2023
928:2019
902:2019
873:2021
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818:2019
807:ISSN
784:2019
735:2017
709:2017
684:2023
658:2018
628:2018
599:2019
573:2019
542:2017
517:2019
491:2019
459:2017
428:ISBN
338:and
259:mine
211:Work
31:Born
272:in
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875:.
850:.
820:.
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737:.
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686:.
660:.
630:.
601:.
575:.
544:.
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