Last Supper at LatchKey Gallery: A Seat At The Table With 12 Artists

Last Supper at LatchKey Gallery: A Seat At The Table With 12 Artists
“Cheers to You” by Ariel Dannielle, courtesy of LatchKey Gallery.

The Last Supper, an art exhibition showcasing the work of 12 African American female artists, opened to the public this month at LatchKey Gallery at Industry City.

The title of the exhibition alludes to the biblical event of “the Last Supper,” famously painted by the artist Leonardo da Vinci. The Last Supper represents the sanctification of Jesus and his 12 apostles, repeatedly attributed to white men.

The exhibition serves to reattribute those themes of power and revolution to Black women. Like the 12 apostles, the 12 artists featured in the exhibit are innovative and organized; through their artwork, they preserve history and experiences, as well as challenge social perceptions and expectations. The Last Supper is a celebration of fellowship between Black women.

The exhibition was curated by Tamecca Seril, an African American artist dedicated to bringing Black culture to the forefront. She also runs a brand that sells stone paper goods designed to mimic traditional African clothing.

Serial told us she hoped to give Black women a place at the table through the making of Last Supper. “If we can’t be at the table, we’ll create a table,” She said.

The exhibition is available at two different locations, one at Industry City, and one at 323 Canal Street, until March 23rd. Each location has 25 to 30 art pieces on display. While there is different artwork at each location, both feature work from all 12 artists, making the art accessible to more people, as well as giving exposure to the artists. LatchKey’s founders, Natalie Kates and Amanda Uribe, started their gallery in 2018 as a way to help emerging artists gain a platform, as well as give culturally motivated artwork exposure.

As a supplement to the exhibition, every week the artists take turns holding “weekly suppers” over zoom, inviting members of the public to view artwork, share recipes, and listen in on the conversation.

The 12 artists featured in the exhibition are all Black women, examining Black womanhood through unique techniques and mediums, resulting in many different perspectives.

Ariel Dannielle is a painter who depicts the daily experiences of young Black women in her artwork. Her painting, “Cheers to You” (above) is the signature piece for the exhibition. It illustrates a day in the life of a millennial Black woman and closely resembles “The Last Supper” as painted by da Vinci.

“All My Days” by Ashante Kindle, courtesy of LatchKey Gallery.

Ashante Kindle is an abstractionist who uses art for healing, as well as to represent the history and beauty of Blackness. One of her projects is a series of paintings made with thick acrylic paint to mimic the textures of natural Black hair. Check out the rest of the series here.

“New Boss of the Hevyweights” by Dana Robinson, courtesy of LatchKey Gallery.

Dana Robinson is a painter whose work addresses Black female identity and emotion. Her paintings are colorful and abstract, making them accessible and open to interpretation by all viewers.

“Soaked in Sugar” by Dominique Duroseau, courtesy of LatchKey Gallery.

Born in Chicago and raised in Haiti, Dominque Duroseau uses art to explore social themes such as racism and dehumanization in her work. She is both a performer and an artist who makes sculptures and prints.

“Black Boy Hopell” by Jennifer Mack Watkins, courtesy of LatchKey Gallery.

Jennifer Mack-Watkins is a printmaker who investigates the complexities of womanhood in her work. She portrays themes like power, insecurity, and relationships through thought-provoking pieces.

“Half Caucasian” by Josie Love Roebuck, courtesy of LatchKey Gallery.

Josie Love Roebuck combines embroidery and painting to create a unique art style through which she depicts portraits of women who’ve survived rape and other traumas. The portraits are both beautiful and emotionally compelling.

“Bodyas Vessell” by Nkechi Ebudedike, courtesy of LatchKey Gallery

Nkechi Ebubedike is a Nigerian-American artist who works in painting, sculpture, photography, and installation. Her pieces connect culture and womanhood. You can view some of them here.

“Succulent” by Kimberly Beacoat, courtesy of LatchKey Gallery.

Kimberly Becoat is a mixed media artist whose abstract work conveys feelings of “urban detachment” Black women and people of color often undergo. She experiments with different materials that make for unique and eye-catching pieces.

“Nzinghalisasm” by La Toya Hobbs, courtesy of LatchKey Gallery.

LaToya Hobbs uses figurative imagery in her pieces to represent ideas of beauty and cultural identity in relation to women of the African Diaspora. Her prints are bold and intimate in their expressions of womanhood.

Artwork by Turiya Magadelela, courtesy of LatchKey Gallery.

Turiya Magadlela is a South African artist who explores themes of colonization, especially that of the Black female body, in her artwork. She uses techniques such as embroidery and sewing, often used by women in their daily lives, as the foundation of her work.

“Patterned Health” by Ify Chiejina, courtesy of LatchKey Gallery.

Ify Chiejina is a Nigerian-American visual artist who uses art to reflect on customs and traditions. Her abstract work weaves intricate patterns and human bodies together to create bold and colorful pieces.

“Provenance” by Shervone Neckles, courtesy of LatchKey Gallery.

Shervone Neckles, a versatile artist, creates prints, drawings, and sculptures that showcase African-American history and identity. The minimalist and abstract pieces are thought-provoking and open to interpretation.

The Last Supper is being showcased at Industry City in Brooklyn on Saturdays and Sundays from 12 noon to 6 pm and at 323 Canal Street in Manhattan on Saturdays from 12 noon to 6 pm. Weekday visitations are available by appointment. The exhibit is free to the public. For more information, to book an appointment, or visit the LatchKey Gallery virtually click here.


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