Here We Are Here: Black Canadian Contemporary Art opens at Montreal Museum of Fine Arts on May 12, and runs until September 16.
Here We Are Here: Black Canadian Contemporary Art reviewed by Kelsey Adams in Canadian Art.
All That is Left Unsaid on view in the exhibition at; into; across at Ulrich Museum of Art, opening on April 7 and running until August 12, 2018 in Wichita, KS.
Travelling to Cambridge, MA to attend Black Portraitures IV: The Color of Silence, the eighth conference in a series of conversations about imaging the black body.
All That is Left Unsaid reviewed by Sharon Mizota in the Los Angeles Times.
All That is Left Unsaid on view at ltd los angeles, opening on February 16 and running until March 30, 2018 in Los Angeles, CA.
In conversation with curators Silvia Forni and Julie Crooks at ROM Daytime: Here We Are Here on February 8. Lecture, coffee and exhibition tour starting at 11:00am (free with museum admission).
Here We Are Here: Black Canadian Contemporary Art reviewed by Chris Rattan in NOW Magazine.
Here We Are Here: Black Canadian Contemporary Art reviewed by Murray Whyte in The Toronto Star.
Featured on the cover of NOW Magazine as part of an article on Black Futures Month.
Suck Teeth Compositions (After Rashaad Newsome) on view in the group exhibition, Here We Are Here: Black Canadian Contemporary Art, opening January 26, 2018 at The Royal Ontario Museum. The exhibition opens with a free artist panel at 6:00pm.
Black Men and Me on view in the group exhibition, If You’ve Got It, Flaunt It, opening on January 25th and running until March 24th, 2018 at McIntosh Gallery in London, ON.
Interviewed by Merray Gerges for Canadian Art’s In the Studio Video Series.
Artist-in-residence at the University of Toronto Scarborough for Winter 2018.
In conversation with Josué Azor at Visibility, a two-day AGO symposium (Dec 3 and 4) presented in partnership with Aperture magazine, bringing together artists, writers and scholars working with photography and image culture to consider the potentials and limits of the medium as a vehicle for empathy, agency, and freedom, both individual and collective.
A Dark Horse in Low Light: Black Visuality and the Aesthetics of Analogue Photography, a public talk at Gallery 44 Centre for Contemporary Photography on November 9th, in dialogue with Yaniya Lee.
Parade of Champions: The Failure of Black Queer Grief, nominated by Transition Magazine for the 2018 Pushcart Prize
The Idea of History, a panel conversation presented by Canadian Art at Art Toronto on October 28th at 6:00pm, with Deanna Bowen and Yaniya Lee, and moderated by Merray Gerges.
Parade of Champions: The Failure of Black Queer Grief, essay and images, featured in the fall issue of Transition Magazine, launching October 27th at Harvard Book Store in Cambridge, MA.
Reviewed the AGO exhibition, Free Black North, for the Fall 2017 issue of Canadian Art, launching on September 23rd at Scrap Metal
Parade of Champions on view in a solo exhibition, opening on September 16th and running until October 21st, 2017 at Studio XX in Montreal, in partnership with Videographe.
Ricky Varghese’s essay on Parade of Champions, published in the fall issue of esse arts + opinions magazine.
Joining Ryerson MFA in Documentary Media program as a contract lecturer, teaching Topics in Cross-Cultural Communication, a course exploring contemporary documentary practices and aesthetic strategies employed by Indigenous, racialized, feminist and LGBT media artists and filmmakers to communicate alternate discourses and diverse perspectives.
Any Other Way: How Toronto Got Queer, an anthology by Coach House Books, short-listed for the Toronto Book Awards.
Featured in Light Grows the Tree, an online project and exhibition at BAND Gallery documenting a community of black artists, writers, curators and collectors in Toronto. Curated by Liz Ikiriko, and featuring photographs by Liz, Yannick Anton, Ebti Nabag and Dainesha Nugent-Palache.
In pre-production for a new video installation, Suck Teeth Compositions (After Rashaad Newsome). More info available at www.suckteeth.ca.
Selected for the 2017 Intergenerational LGBT Artist Residency, which unfortunately was postponed to 2018 due to floods on the Toronto Islands.
EMILIA-AMALIA chapbooks launch at the Toronto Art Book Fair, featuring my short essay, I Am Not Here to Be Who I Already Am
Reading an excerpt from Red Spot Nights and joining a panel discussion on the anthology Any Other Way: How Toronto Got Queer at Toronto Reference Library
Black Men and Me screens in 7a*md8 On-Screen, a collection of performances designed specifically for the camera by local, national and international artists.
Black Men and Me screens in CFMDC’s Local Heroes Retrospective at Inside Out Toronto LGBT Film Festival.
Reconstructing Blackness: Michèle Pearson Clarke on Portraiture and Identity, a workshop at Gallery 44 Centre for Contemporary Photography on May 9th
Red Spot Nights, a short personal essay published in Any Other Way: How Toronto Got Queer, an anthology by Coach House Books
I’m Thinking of Ending Things, commissioned by the Robert McLaughlin Gallery and on view in the exhibition, Visitor Information, curated by Linda Jansma and Jayne Wilkinson, opening April 29th and running until September 19th, 2017 at the RMG in Oshawa.
Recipient of Ontario Arts Council Visual Arts Project grant
All That is Left Unsaid on view in the exhibition, Fugitive Desires, curated by Chandra Frank and opening on March 3rd and running until April 28th, 2017 at 198 Contemporary Arts & Learning in London, UK
DMG/Studio Visit Artist Lecture, March 16th at Doris McCarthy Gallery, Scarborough, ON
All That is Left Unsaid screens at the Ann Arbor Film Festival, March 21st-26th
All That is Left Unsaid on view in the exhibition, All That is left unsaid / at the very point where words fail us, curated by Sally Frater and opening on February 24th and running until April 8th, 2017 at Centre  for Print and Media Arts in Hamilton
Commissioned writer for EMILIA-AMALIA Session VII: How to Ask a Question, part of a series produced by an exploratory working group that employs practices of citation, annotation, and autobiography as modes of activating feminist art, writing and research practices.