“Cinema Remixed and Reloaded” is a daring, bold, innovative look at black women artists and video art. This historical survey examines an intriguing and unbounded scope of work, including experimental film, projections, and installations. Creative projects by established artists who became interested in time-based media several decades ago, such as Camille Billops, Barbara McCullough, Howardena Pindell, and Adrian Piper, are presented alongside such midcareer artists as Berni Searle, Lorna Simpson, Kara Walker, and Carrie Mae Weems, who continually garner international acclaim.Works by emerging artists, including Elizabeth Axtman, Debra Edgerton, Lauren Kelley, Jessica Ann Peavy, Pamela Sunstrum, and Lauren Woods, are also featured. While exploring personal experiences and dissecting popular visual culture, the artists in “Cinema Remixed and Reloaded” provide relevant views on several important topics – memory, loss, alienation, racial politics, gender inequities, empowerment, and the pursuit of power.

Black Light/White Noise: Sound and Light in Contemporary Art documents the first comprehensive review of contemporary black artists working with sound and light, building on a longstanding tradition of artistic experimentation through the work of 16 diverse artists. The featured artists in the exhibition include Sanford Biggers, Louis Cameron, Kianga Ford, Kira Lynn Harris, Sach Hoyt, Arthur Jafa, Jennie C. Jones, Yvette Mattern, Camille Norment, Kambui Olujimi, Karyn Olivier, Nadine Robinson, and SoundLab (Beth Coleman and Howard Goldkrand). The exhibition also features select canonical works by George Lewis (in collaboration with Douglas Ewart and Douglas Irving Repetto), Tom Lloyd, and Benjamin Patterson that place these 21st-century sound and light works in context with the history of the genre. The publication includes essays by Valerie Cassel Oliver, curator of the exhibition; Romi Crawford, director of education and public programs at the Studio Museum of Harlem; and Greg Tate, composer, musician, playwright, and contributor to The Village Voice. The catalogue published by Contemporary Arts Museum Houston contains extensive photographic and audio documentation on each light and sound installation, a DVD with reproductions of the non- static work, as well as biographical and bibliographical information on each artist.

Double Consciousness explores the conceptual art practices of African-American artists over the past 35 years, using as its underpinning, the “reflexive” nature of art-making which emerged with the avant-garde of the late 1960s. The exhibition chronicles conceptual art as practice of ideas as manifested through the use of everyday materials and objects–performance as action; interventions or critiques; as well as writings. It also focuses on the evolution of conceptual art in subsequent decades as a tool to deconstruct existing precepts regarding gender and race, and as a strategy in presenting ideas regarding the complexities of contemporary society and how artists skillfully negotiate these complexities as it relates to themselves and the community at large. The exhibition’s concept is an aesthetic contribution to the rethinking of DuBois’s “double conciousness” theory that asserts that African-Americans are no longer relegated to looking at themselves through the eyes of others, but rather through their own gaze. The catalogue features a chronology of significant events that have helped shape the language and ideas of artists over the last century as well as an anthology by a few artists in the exhibition–Adrian Piper, Charles Gaines, Arthur Jafa, Howardena Pindell, to name a few. Participating artists include Terry Adkins, Edgar Arceneaux, Sanford Biggers, Ellen Gallagher, Jennie C. Jones, Senga Nengudi, Maren Hassinger, Gary Simmons, Nari Ward, and others.