MOVEMENT: ART FOR SOCIAL CHANGE
MOVEMENT: ART FOR SOCIAL CHANGE is global initiative by Pitroda Art that celebrates artists as champions of change; fearless in provocation; and vital to social movements. Artists have this special ability to inspire us to think, see and act - ultimately to move us. Movement is a series of curated art collections, selected through global open calls for artists, that each explore a pressing social issue.
RACIAL JUSTICE COLLECTION
Our inaugural Collection is dedicated to the theme of Racial Justice. We are compiling an unprecedented collection of artworks that take a critical look at racial issues - a retrospective and reflective look at the inequality that exists around us.
We seek to spark a global conversation on equity and unity. We want to mobilize impact, spark conversation and celebrate the arts as a vehicle for social change.
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HOW IT WORKS & TIMELINE
Step 1 October 4 Open-Call-for-Artists from around the world to submit work exploring the theme of racial justice.
Step 2 October 15 A panel of 5 expert jurors selects 30 pieces of artwork that will make up the Collection.
Step 3 October 20 These works are auctioned on Pitroda Art's online gallery and promoted internationally.
Step 4 October 24 The artwork will also be displayed as public art installations, projected onto iconic buildings in Washington DC.
Step 5 50% of proceeds from the auction will go to the artist, 25% to operating Movement and 25% as a donation to #BlackLivesMatter
Our incredible and dynamic panel of guest jurors will be selecting the 30 pieces of art that will make up the Racial Justice Collection.
Each one brings a unique expertise and perspective to process. We are delighted to welcome them. Explore their bios below.
Adenrele Sonariwo award-winning curator, founder of Rele Art Gallery and Rele Art Foundation. She holds a Masters of Fine Art - Academy of Art University San Francisco, CA, a Curating Contemporary Art Certificate – University of the Arts, London and a B.A. Business Administration/Accounting (Honors) Howard University, Washington, DC.
She has curated several commercially and critically successful high profile art exhibitions; exhibitions that challenge the boundaries of art, engaging innovative subjects and techniques. She has also led the movement to break art out of ivory tower, with Rele Gallery exploring and partnering with fields of tech, community social causes & health.
She was the first person to curate an art exhibition at Nigeria’s seat of power, The Presidency (Abuja) and has been featured in global publications such as the Financial Times, The Art Review, Forbes Africa, and Vogue. In 2016, she won the Future Awards Africa Prize for Arts and Culture. In 2017, she curated the first ever Nigerian Pavilion at the Venice Biennale. In 2018, she was selected as a member of the jury for the 13th edition of the Dakar Biennale.
Chika Okeke-agulu artist, curator and art historian, is professor of African and African Diaspora art and Director of Graduate Studies, Department of Art and Archaeology and Department of African American Studies at Princeton University. He is Varnedoe Visiting Professor, The Institute of Fine Arts, New York University (spring 2020).
His books include Yusuf Grillo: Painting. Lagos. Life (Skira Editore, 2020); Obiora Udechukwu: Line, Image, Text (Skira Editore, 2016); Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke, 2015); Contemporary African Art Since 1980 (Damiani, 2010); Ezumeezu: Essays on Nigerian Art and Architecture, a Festschrift in Honour of Demas Nwoko ( Goldline & Jacobs, 2009). He is co-editor of Nka: Journal of Contemporary African Art and maintains the blog Ọfọdunka. As an art critic, his writings have appeared in The Guardian (Lagos), Daily Times (Lagos), Artforum International (New York), The New York Times, The Huffington Post, Parkett, Art Journal, Art South Africa (Johannesburg), and Bonhams Magazine (London).
Kelsey Adams arts writer & cultural critic from Toronto whose work explores the intersection of art, film and music with a focus on the contributions of marginalized cultural producers. She has written for Canadian Art, The Globe and Mail, The Toronto Star, CBC, The FADER, i-D, Complex and more.
Dexter Wimberly is an independent curator, entrepreneur and Senior Critic at New York Academy of Art who has organized exhibitions and developed programs with galleries and institutions throughout the world including The Third Line in Dubai; Contemporary Art Museum CAM Raleigh in North Carolina; The Museum of the African Diaspora (MoAD) in San Francisco; Koki Arts in Tokyo; and the Museum of Arts and Design in New York City.
His exhibitions have been reviewed and featured in publications including The New York Times, Artforum, and Hyperallergic; and have received support from The Andy Warhol Foundation for the Visual Arts. Dexter Wimberly has served as Director of Strategic Planning at Independent Curators International in New York City. He is the founder of ART WORLD CONFERENCE, a business and financial literacy conference for visual artists. He was recently listed in the Observer's "Arts Power 50: Changemakers Shaping the Art World in 2019." In 2020, Wimberly founded the Hayama Artist Residency in Hayama, Japan.
NANCEE LYONS leads MuralsDC, Washington DC’s largest public mural program. She has coordinated the installation of more than 120 original murals on buildings throughout the nation's capital by identifying walls, bringing in local, national and international artists and coordinating community involvement in the design and approval process.
Most recently the notable street painting of Black Lives Matter Plaza a two-block-long section of 16th Street NW in Downtown Washington, D.C. in yellow capital letters. The plaza was renamed by Mayor Muriel Bowser as part of the George Floyd protests. She is also a public affairs specialist for the District of Columbia’s Department of Public Works (DPW) In this role, she is responsible for the dissemination of information about Department’s of programs and services to citizens and members of the media.