Charisse Pearlina Weston:
of [a] tomorrow: lighter than air, stronger than whiskey, cheaper than dust.

QM presents Charisse Pearlina Weston’s first museum exhibition. The exhibition includes a site-specific installation as well as a new series of sculptures in glass that explore the ways in which Black motifs of inversion, stall and delay, and enfoldment can tactically resist protocols of white supremacy. Using the complicated spatial and political history of the 1964-65 World’s Fair and Flushing Meadows Corona Park as its backdrop, the exhibition considers the ways in which architecture acts as a spatial and social modifier upon which fantasies of futurity, freedom, and intimacy are realized. Drawing from research on The Congress of Racial Equality Brooklyn (CORE)’s protest of the 1964 World’s Fair, the 1965 Watts Riots in Los Angeles, and Black Lives Matter protests of 2020, Weston critically examines how the symbolic and literal deployments of glass within the context of architecture, media, policing and surveillance complicate Black intimacies and interiors and reify anti-Black protocols of movement and sight/seeing

Charisse Pearlina Weston (b. 1988, Houston, TX) is a conceptual artist and writer whose practice is grounded in a deep material investigation of poetics and the autobiographical to explore the delicate intimacies and reticent poetics underlying black life. She received a BA from the University of North Texas, a MSc in Modern Art: History, Curating and Criticism from the University of Edinburgh’s Edinburgh College of Art and a MFA in Studio Art, with Critical Theory emphasis, from the University of Irvine in 2019. She is an alumna of Whitney Museum of American Art’s Independent Study Program.
She has exhibited in solo and group exhibitions including Contemporary Art Museum, Houston, the Hessel Museum of Art at Bard College, Abrons Art Center, Project Row Houses, Recess, and the Moody Center of the Arts at Rice University. She has received support from the Artadia Fund for the Arts (2015, Houston), the Dallas Museum of Art’s Arch and Anne Giles Kimbrough Fund (2014), the Harpo Foundation (2021) and the Graham Foundation (2021), among others. She was a 2019 Dedalus Foundation Fellow in Painting and Sculpture. She is the recipient of the Museum of Art and Design (MAD)’s 2021 Burke Prize and was also a 2021 MAD Artist Fellow. She will be a Fields of the Future Fellow at Bard Graduate School in Fall 2022. Her experimental play, Awaiting, will be published by Ugly Duckling Press in fall 2022. 

Charisse Pearlina Weston: of [a] tomorrow: lighter than air, stronger than whiskey, cheaper than dust. is presented with support from Crystal Windows and Door Systems and the Art Alliance for Contemporary Glass.

Image: Charisse Pearlina Weston, held, I invert, I lift (nothing if not the moment dark space collisions itself), 2022. Photographic decal on glass, lead etched within its enfoldment. 34 x 20.5 x 13″
Presented in This Tender, Fragile Thing. The School, Jack Shainman Gallery. Kinderhook, New York. Jan. 15-April 30 2022

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