• Tomashi Jackson in her Studio. Image courtesy of The New York Times. Photo: Christopher Gregory

  • Tomashi Jackson

    Tomashi Jackson (American, born 1980), States' Rights (Brown et al. vs The Board of Education of Topeka, Kansas)(Limited Value Exercise)), 2017. Mixed media on gauze, 89 x 91 x 45 inches.

  • Tomashi Jackson

    Tomashi Jackson (American, born 1980), Girls Time (Heartbreak Hotel), 2020. Archival print on PVC marine vinyl, acrylic paint, paper bags, Pentelic marble dust, Greek canvas, fabrics from Walmart, American linen. Photograph by Marten Elder, courtesy Night Gallery, Los Angeles and Tilton Gallery, New York.

  • Tomashi Jackson

    Tomashi Jackson (American, born 1980), Make Two Black Property Owners Look Like One (Limited Value Exercise) (Mr. Lyons & Mr. Dorce), 2019. Silkscreen on paper, 24 x 35 3/4 inches.

  • Tomashi Jackson (American, born 1980), Ecology of Fear (Gillum for Governor of Florida)(Freedom Riders bus bombed by KKK), 2020 archival prints on PVC marine vinyl, acrylic paint, American campaign materials, Greek ballot papers, Andrew Gillum campaign sign, paper bags, Greek canvas, Pentelic marble dust 91 x 100 inches. Photograph by Marten Elder, courtesy Night Gallery, Los Angeles and Tilton Gallery, New York.

  • Tomashi Jackson

    Tomashi Jackson (American, born 1980), Ecology of Fear (Abrams for Governor of Georgia) (Negro Women wait to congratulate LBJ), 2020. Archival prints on PVC marine vinyl, Pentelic marble dust, acrylic paint, American election flyers, Greek ballot papers, paper bags, muslin 84 x 60 inches.

Platform: Tomashi Jackson

July 12–October 25, 2020

Tomashi Jackson (b. 1980 Houston, TX) is a multidisciplinary artist known for placing formal and material investigations in dialogue with recent histories of displacement and disenfranchisement. Jackson has been invited to present new work as part of the Parrish Art Museum’s special Platform project, an annual invitation to an artist to consider the entire Museum as a potential site for works that transcend disciplinary boundaries, encouraging new ways to experience art, architecture, landscape, and community.

Jackson is particularly interested in the movements and migrations of groups of people, the curtailment of these for populations of color, and how boundary lines are drawn, maintained, and in some ways subverted. Her continued investigation into color, light, and perception, and the effects of these on the value of human life in public space is inspired by Josef Albers’ research on the relativity of color and the unconscious processes by which the brain organizes and reconciles information, resulting in works with exuberant color, bold geometries, and intricate layerings of material.

Jackson is examining these issues as they pertain to communities of color on Long Island’s East End through archival material, meetings with historians and community leaders, juxtaposing present-day socio-economic tensions with historical racial segregation. This research method is similar to the one for her project at the 2019 Whitney Biennial, in which she compared people of color losing their homes in the 19th century, when Seneca Village was razed to become part of Central Park, with homeowners in Brooklyn recently losing their homes under a controversial policy known as third-party transfer.

In an ongoing partnership with the Parrish that fulfils its mission of presenting process-based projects for Platform, The Watermill Center has invited the artist for a residency from May 13-June 12, 2020, as part of their Inga Maren Otto Fellowship for visual artists. During the residency, Jackson will have the opportunity to deepen her research and create new work for the exhibition, which will include abstract collage paintings and installations.

The exhibition will serve as the basis for inquiry, discussion, and creative production in the Parrish’s educational programs. Exhibition themes will inform student and family workshops, adult docent tours, and gallery discussions. An illustrated publication will document Jackson’s process and installation.

Platform: Tomashi Jackson is organized by Corinne Erni, Senior Curator of ArtsReach and Special Projects.


About Tomashi Jackson

Tomashi Jackson’s work was included in the Whitney Biennial 2019. She had solo exhibitions at Radcliffe Institute for Advanced Study, Harvard University, Cambridge, MA (2020); Night Gallery, Los Angeles, CA (2020); Tilton Gallery, NY (2019), the Zuckerman Museum of Art in Kennesaw, GA (2018); and group exhibitions at the Contemporary Art Center, New Orleans (2019); MOCA Los Angeles; and MASS MoCA (2017). Her work is included in the collection of MOCA Los Angeles. Artist residencies include Skowhegan School of Painting & Sculpture and ARCAthens, Greece (2019). Jackson has taught at Rhode Island School of Design, Massachusetts College of Art, Cooper Union, and New York University. She received her MFA in Painting and Printmaking from Yale University School of Art in 2016; her Master of Science in Art, Culture and Technology from the MIT School of Architecture and Planning in 2012; and her BFA from Cooper Union in 2010. Jackson lives and works in Cambridge, MA, and New York City.

Platform: Tomashi Jackson is made possible, in part, thanks to the generous support of The Andy Warhol Foundation for the Visual Arts; The Dorothy Lichtenstein ArtsReach Fund, established by Agnes Gund; The Deborah Buck Foundation; and Sandy and Stephen Perlbinder. Public Funding provided by Suffolk County.