Nsenga Knight’s Make Safe, Make Space featured in the 2019 Southern Constellations Exhibition at NC A&T University Jan. 10th – Jan. 28th.

Make Safe, Make Space featured in the 2019 Southern Constellations Exhibition

at NC A&T University

Jan. 10th – Jan. 28th.

MSMS_Smith082314 (date)_2
Make Safe, Make Space, 2014 lithograph print series with sewn muslin and fabric bricks , Photo courtesy of Justin Perry and Smith Gallery

Make Safe, Make Space is featured at NC A&T University in the 2019 Southern Constellations Exhibition— a multi-media show highlighting the work of the Southern Constellations (SoCo) Fellowship program and curatorial initiative to extend experimental arts practices, networks, and dialogues in the South. Curated by Elsewhere in collaboration with past SoCo Fellow Jessica Gaynelle Moss, the show at A&T profiles selected works from the curatorial initiative.

Artists include Fellows Nikita Gale, Stacy Lynn Waddell, Maria Molteni, Charisse Weston, Cosmo WhyteAntoine WilliamsRachel DebuqueJana HarperMictlan Studios – izelvargas.com, Magsamen and Stephen Hillerbrand, Martha WhittingtonNsenga KnightNick Szuberla, Melissa Vanderburg, John Q, Andrew Raffo Dewar

The SoCo Exhibition opens on Jan. 10th and runs through Jan. 28th.






AUG. 17 – OCT 11, 2018



OCT. 9, 2018 6 pm


Nsenga Knight, Other Stars Don’t Behave So, 2013  ink and wax drawing, 20 x 30 in. Courtesy of the artist.


THOUSAND OAKS, CA, September 25, 2018Nsenga Knight: Other Stars, an exhibition of geometric drawings, text paintings, photographs and oral history recordings by Nsenga Knight will be on view at the Kwan Fong Gallery at California Lutheran University from August 17 – October 11, 2018. In conjunction with the Other Stars exhibition, art historian Halima Taha will present on the work of Knight in the context of the canon of African American artwork, with a focus on the overlapping influences of Western and Islamic abstraction in her work Tuesday, October 9, 2018 at 6:00pm at the Ullman Conference Center 100/101 at CLU.

The exhibition includes a survey of Knight’s works from as early as 2007 such as As the Veil Turns her photography, video and oral history project on Black women in her hometown Brooklyn Muslim community who converted to Islam prior to 1975 and pioneered some of New York’s earliest still-existing mosques; and more recent works that place Malcolm X and Ali Shariati’s pilgrimage memoirs in sociological and formal conversation with Abū Rayḥān Muḥammad ibn Aḥmad Al-Bīrūnī’s 10th-century astronomical renderings.

Shameela copy.jpg

Nsenga Knight As the Veil Turns (Shameelah), 2007 Archival Inkjet Print, 30 x 20 in. Courtesy of the artist.


Each of my artistic projects is responding to my self-reflexive question: Who am I and what is my place in this world? My artworks exist as invitations to examine new possibilities that broaden our collective imaginations and challenge traditional boundaries of race, nationhood and religion. —Nsenga Knight

On October 9, 2018  Taha will present a discussion about Knight as a contemporary artist working in film, photography, paint,   and printmaking, exploring her place as an interdisciplinary artist whose visual statements are universal, yet part of the visual culture of the African Diaspora. Given the meteoric growth of art by artists of African descent in the worldwide market, Taha will discuss Knight’s presence within it and will highlight the market interest in work that provides insight into the global experience while ultimately provoking self-reflection.

Knight (b. 1981, Brooklyn, NY) has exhibited work at the Drawing Center, Contemporary Arts Museum Houston, the Museum of Contemporary African Diasporan Art, the New Museum for Contemporary Art and MoMA PS1. She received her MFA from the University of Pennsylvania and BA in Film from Howard University. She lives and works in Cairo, Egypt and New York.

Taha is a best-selling author, curator, appraiser and independent scholar. Taha is most well-known for her groundbreaking bestseller, Collecting African American Art: Works on Paper and Canvas (Crown), the first book to validate African American art as a viable asset and commodity within the international marketplace; which created a new market for publications and exhibitions on African American art. Her work advocates the importance and value of collecting art made by American artists of African descent. She has degrees in Liberal Arts, Arts Management & Cultural Policy from Sarah Lawrence College and New York University. Currently, Taha is the President of TahaThinks,LLC, a company that provides art advisory, appraisal, collection management, and speaker services.

The Kwan Fong Gallery is located in Soiland Humanities Center at the California Lutheran University. Admission is free. The gallery is open to the public 8 a.m. to 8 p.m. Monday through Saturday. Street parking is by permit 7 a.m. to 7 p.m. Parking lots are located on Mountclef Boulevard north and south of Olsen Road.

For more information, visit https://blogs.callutheran.edu/kwanfong/ and https://nsengaknight.com/


Nsenga Knight  




Rachel T. Schmid





The Lynching of Kalief Browder (and I’m going Public!)

I’ve decided to go public! ….with my thoughts. Having this site where people see lots of images of my work is great and with those images I also have this desire to write and share publicly in a part of cyberspace that I feel belongs to me. Today, June 10th 2015 is the first day of this blogging aspect of my website.  I’m motivated to write due to a lot of hope and some heart clenching emotions and deep sadness about Kalief Browder’s suicide on Saturday, June 6, 2015.

I don’t get to have a conversation with everyone who has the opportunity to look at my work online or in person, but, maybe this blog will do some of what a conversation seeks to accomplish.

Here I’ll speak more plainly.

Or, I might ramble on…

Sometimes you’ll just look at what I’m looking at and listen to what I’m listening to:

There is for me, something especially painful about the loss of this young man. The fact that he hung himself feels like only a technicality regarding his death. His death, his suicide is the result of deep trauma, our society’s lack of empathy, racism, and extreme injustice. We have seen many images of Black people, black men especially hung with a rope wrapped around their necks. We call those lynchings. We haven’t seen one exactly like this in a long time. I imagine that what Kalief Browder’s mother witnessed when she saw him hanging from a window in their home looked quite similar.

samcarterKalief Browder looks so familiar to me. His  suicide is especially tragic because it symbolizes a loss of hope, one for which Black people especially cling onto. We look at our own history and even our current situation and we wonder how we have held on to joy and even moreso, our humanity, dignity, kindness and love for one another (and even this country) in spite of the constant attacks on us by the oppressive system that oftentimes is stacked against us.

Yesterday I was listening to a program on NPR where a writer was talking about how Ghandi instructed Hindus to remain non-violent and commit suicide instead of fighting back. He said this would shame their oppressors. I don’t support suicide and I do not agree with non-violence at any cost. I do agree that what causes people under such duress to commit suicide points back to the oppressor and the traumatizing effect of  their oppression. They are blameworthy. Shame on them!

Shame on all the demonic system and all of its evil minions who caused this young man so much suffering.  Who paid him no mind when he suffered mental illness and punished him more for this, caused him to lose his mind and beat his body, and then finally lose hope. They wrapped a noose around his neck and pointed him to the tree. He was so traumatized,  mentally ill, burdened and heavy with sadness; that this weight coupled with the noose caused him to lose his life.

To see a young man like this lose hope and know that he must have felt that he had reached his limits… well, I am at a loss for words. Just sadness, anger, exhaustion, empathy, sympathy, a desire to hold and coddle him, I wish I could rock him back and forth and tell him that tomorrow will be better, he is stronger. God still loves him, he survived, and he will thrive again. Even moreso, I wish I could get him a plane ticket out of the hellish shit-hole that has become much of America for so many Black people and show him that the world is bigger, people are better, and there is a B-side to this scratched up record; a B-side that has not been listened to where the songs are slower and a little more experimental. I wish for people in such traumatic situation to be shown a better escape route. There is a route to freedom and the underground railroad still exists. Please search for allies. Search for answers and new routes to freedom. I don’t know what would have helped Kalief and I don’t blame himm for what he did. I just wish that no one else does. We have to get people out of the hell they are living in before it’s too late.

Please comfort one another.

When asked, “Who gives a fuck about your feelings?”, –  particularly the feelings of Black people suffering,  please say “I do!”