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SUMMARY:Devan Shimoyama: SHIFT
DESCRIPTION:Glassboro\, NJ (January 6\, 2026) — Philadelphia native artist Devan Shimoyama will present new work in his regional debut\, SHIFT at Rowan University Art Gallery & Museum. This solo exhibition runs January 26 to March 21. Opening reception Wednesday February 4th 2026 at 5-7pm. \nDevan Shimoyama is a visual artist who works primarily in painting and self-portraiture\, with works inspired as much by classical mythology as by the culture of his youth. Through his depictions of the queer Black male form\, Shimoyama investigates the politics of queer culture while navigating his own personal narratives. Referencing the dramatic sensibilities of painters such as Caravaggio and Goya\, he layers his surfaces with jewels\, black glitter\, rhinestones\, and sequins to evoke both the beauty and alienation of the Black queer body.
URL:https://gridphilly.com/event/devan-shimoyama-shift/
LOCATION:Rowan University Art Gallery & Museum\, 301 High Street West\, Glassboro\, NJ\, 08028\, United States
CATEGORIES:Art Exhibitions
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SUMMARY:Qualeasha Wood: code_eden
DESCRIPTION:Rowan University Art Gallery & Museum to Exhibit Qualeasha Wood’s Tapestries that Draw \non Social Media\, Queer Culture\, and Anti-Black Prejudice \nGlassboro\, NJ (October 14\, 2025) — Internationally celebrated\, Philadelphia-based textile artist\nQualeasha Wood will make her regional debut in a solo exhibition running November 10 to January\n10 at Rowan University Art Gallery & Museum.\nWood’s work explores her identity as a queer Black woman and a digital native\, as well as racial\nstereotyping\, social media\, and internet culture. The Central Jersey native\, who works and lives in\nPhiladelphia\, was drawn to textiles after her grandmother covered her with “a jacquard blanket woven\nwith baby photos.”\nQualeasha Wood: code_eden invites viewers into the vivid\, layered worlds and self-portraits that she\nbuilds from digital culture. Through textiles\, tuftings\, and new video works (that consider glitches and\nmisinformation online)\, the 29-year-old artist transforms the language of technology into lush\nlandscapes. The exhibition presents her as a world-builder\, crafting a meta-paradise that blurs the line\nbetween the virtual and the human.\nIn Deus Ex Machina (What Was I Made For?) (pictured above)\, Wood explores ideas of divine\nintervention and self-determination through imagery of fauna and the iconography of virtual and\nreligious sacraments. Wood’s tuftings\, such as Into the Blue\, visualize the journey of adolescence and\nintrospection through bold colors and pillowy textures. \nThe show is being guest curated by Leandra-Juliet Kelley\, an art historian and curator based in Durham\,\nNorth Carolina.\nRowan’s Art Gallery & Museum in Glassboro\, New Jersey\, just outside Philadelphia\, mounts new\ncontemporary art exhibitions by professional artists every two to three months. With a reputation for\nattracting high caliber\, international talent\, it’s a cornerstone of South Jersey’s vibrant arts scene. All\nexhibitions and special events are open to the public with free admission.\nLocal Artist With an International Reputation\n“The artist’s tapestries\, which incorporate distorted self-portraits and screenshots from the internet\, feel\nboth ephemeral and nostalgic\,” wrote The New York Times earlier this year.\nWood’s 2021 tapestry “The [Black] Madonna/Whore Complex” was acquired by the Metropolitan\nMuseum of Art. The Rhode Island School of Design graduate’s work is currently included in Design and\nDisability at The Victoria and Albert Museum in London\, as well as in the Philadelphia International\nAirport’s Terminal E.\nIn 2024\, she presented her first solo institutional exhibition\, code_anima\, at the Harvey B. Gantt Center\nfor African-American Art + Culture in Charlotte\, North Carolina. In 2025\, Pippy Houldsworth Gallery in\nLondon presented Malware\, Wood’s second solo exhibition at the gallery.\nHer work has also appeared at Art Institute of Chicago\, The Rennie Collection\, Vancouver\, The Rhode\nIsland School of Design Museum\, The Studio Museum in Harlem\, Fine Arts Museums of San Francisco\,\nand The Museum of Fine Arts\, Houston\, Texas.\nLater this year she will be a part of I Still Dream of Lost Vocabularies at Autograph in London.\nHow to Visit\nLocated at 301 High Street West\, Glassboro\, NJ 08028\, Rowan University Art Gallery & Museum is open\nto the public with free admission Monday to Friday 10:00 am – 5:00 pm and Saturday 11:00 am – 5:00\npm.\nAn Opening Reception on Saturday\, November 15\, 3-5 p.m. features a discussion with the artist and\nguest curator.\nLearn more. \nPRESS PHOTOS (credits/captions enclosed) \nAbout Rowan University Art Gallery & Museum\nRowan University Art Gallery & Museum offers contemporary art exhibitions featuring celebrated\, high-caliber\nvisual artists from the global and local communities. Open to the public with free admission\, it serves as a vibrant\ncultural destination for South Jersey\, the Rowan community\, and surrounding region. The Art Gallery presents\ndiverse forms of contemporary art by professional artists with content that is thought provoking\, relevant\, and\ntimely. Visit: rowan.edu/artgallery \n###
URL:https://gridphilly.com/event/qualeasha-wood-code_eden/
LOCATION:Rowan University Art Gallery & Museum\, 301 High Street West\, Glassboro\, NJ\, 08028\, United States
CATEGORIES:Art,Art Exhibitions,Arts & Culture
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DTSTAMP:20260407T073425
CREATED:20250331T185254Z
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SUMMARY:Opening Reception\, Lavett Ballard: The People Who Could Fly
DESCRIPTION:Lavett is creating new works that will represent and amplify African folklore and tribal stories told from a Black woman’s perspective.\n\n\nArtist Statement\nThis body of work is inspired by cherished Storytime moments with my granddaughter\, particularly our shared love for The People Could Fly by Virginia Hamilton. This powerful tale\, rooted in an African American folktale\, has also influenced one of my favorite authors\, Toni Morrison\, in Song of Solomon. These works serve as the foundation for my exploration of resilience\, hope\, and freedom throughout African American history. \nThe Visual narrative I seek to convey traces a journey from Africa\, through the harrowing Middle Passage\, to enslavement\, and ultimately to liberation and resilience. My goal is to guide viewers through this story\, forging connections between the past and the present. \nTo bring this vision to life\, I am creating art that intertwines folktale\, history\, and culture\, incorporating reclaimed wood fencing and wooden substrates to craft wall-hung pieces and sculptural works. My techniques will include mixed-media approaches and immersive installations designed to engage viewers in a dynamic interpretation of this bittersweet folktale—extending its meaning beyond enslavement to celebrate resilience and identity by blending both the past and the present day. \nThrough this exhibition\, I hope to honor the enduring spirit of the African American experience and inspire reflection on the collective journey from oppression to empowerment. \n \nLavett Ballard is a Mixed Media Visual Artist\, Art historian\, Curator\, and Author. She holds a dual Bachelor’s in Studio Art and Art History with a minor in Museum Studies from Rutgers University\, and an MFA in Studio Art from the University of the Arts in Philadelphia. \nBallard’s art has been commissioned as a cover twice for Time Magazine first in March 2020 for their special multi-cover edition for the 100th anniversary of Women’s Suffrage and in February 2023 for a cover and interior art for Pulitzer Prize winner Isabel Wilkerson’s essay about her book CASTE: Origins of our Discontent. In 2024 her art was featured in the NAACP Image Award winning Non-Fiction book The New Brownies’ Book: A Love Letter to Black Families by Karida L. Brown & Charly Palmer. \nHer work has been included in both literary & film productions and collected both nationally and internationally. Acquisitions include the Petrucci Family Foundation\, Abena Busia the Ghanian Ambassador to Brazil’s private Collection\, Grant & Tamia Hill collection\, the Francis M. Maguire Museum\, the African American Museum of Philadelphia\, the U.S. Art in the Embassies\, St Joseph’s University\, Syracuse Universities- Community Folk Arts Center\, & Jule Collins Smith Fine Art Museum at Auburn University Collections among many others. \nBallards portfolio can be viewed via www.LavettBeArt.com
URL:https://gridphilly.com/event/opening-reception-lavett-ballard-the-people-who-could-fly/
LOCATION:Rowan University Art Gallery & Museum\, 301 High Street West\, Glassboro\, NJ\, 08028\, United States
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DTSTART;TZID=America/New_York:20241005T153000
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CREATED:20240924T180337Z
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SUMMARY:Artist's Talk\, Wendel White: Folding Time
DESCRIPTION:A presentation about his research in creating his three pivotal bodies of work: Manifest\, Schools for the Colored\, and Red Summer.\n\n\nJoin us for this compelling presentation by Wendel White on \nSaturday\, October 5th at 3:30 pm. \nA light reception will follow as part of the exhibition\, Folding Time. On view from September 3 through October 26\, 2024. \nWendel White is a distinguished South Jersey-based photographer known for focusing on Black history and the legacy of slavery through his foundational projects: Schools for the Colored\, Red Summer\, and Manifest. The exhibition Folding Time will display a selection of photographs from each series. Through these bodies of work\, White is effectively folding time by bringing the past and the present into a shared space. \nWhite’s series Manifest explores Black material culture across public collections in the original thirteen English colonies and Washington\, DC\, showcasing artifacts that range from receipts for human purchases to everyday items\, illuminating the historical narrative of the Black community in America. Schools for the Colored documents segregation with historic African American school buildings\, particularly in the northern “Up-South” states. The digital imaging technique that obscures the landscape surrounding the schools\, and in some cases\, the schools themselves\, is a visual representation of the W.E.B. DuBois literary metaphor of the “veil” as a social barrier. \nRed Summer delves into locations where racial violence erupted between 1917 and 1923\, combining contemporary landscapes with fragments of historical newspaper reporting to bridge past and present perspectives. \nAbout the Artist \nBorn in Newark\, New Jersey\, Wendel White holds a BFA from the School of Visual Arts and an MFA from the University of Texas at Austin. He currently serves as a Distinguished Professor of Art & American Studies at Stockton University and has received numerous awards\, including a Guggenheim Fellowship; an honorary Doctor of Arts at Oakland University; a Robert Gardner Fellow in Photography\, Peabody Museum\, Harvard University; and multiple artist fellowships from the New Jersey State Council for the Arts. His work has been exhibited widely and is housed in prestigious collections and institutions worldwide. \nimage above: Manual Training and Industrial School for Colored Youth\, Bordentown\, New Jersey. Pigment Inkjet on Paper
URL:https://gridphilly.com/event/artists-talk-wendel-white-folding-time/
LOCATION:Rowan University Art Gallery & Museum\, 301 High Street West\, Glassboro\, NJ\, 08028\, United States
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