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    Rodney McMillian: Neighbors

     
    Lower Level Gallery
    October 2025 – August 2026
    Rodney McMillian (b. 1969, Columbia, South Carolina; based in Los Angeles, California) creates work that examines the social and political histories of the United States, focusing on the ways these forces shape landscapes and bodies. Inspired by the lush surroundings of the Henry, McMillian presents a selection of sculptures, videos, and paintings that reflect on the lingering effects of physical, political, and social violence.
    A group of white papier mâché sculptures resemble biomorphic abstraction, built from taxidermy forms and materials. Neither fully body nor purely formalist invention, the sculptures, each titled Specimen, are ghostly presences crafted from materials typically used as the internal supports for staging an animal hide as a lifelike form.
    McMillian’s videos take a more direct approach to political commentary. Preacher Man II (2017–2021) features a lay clergyman seated at a crossroads, delivering a sermon adapted from a text by civil rights activist Kwame Ture (alias Stokely Carmichael) written at the height of the Black Power movement. In Untitled (neighbors) (2017), filmed in Austin, Texas, dancers in flowing white garments perform movements that are abstract, incantatory, and at times ribald, embodying a mix of ritual and spontaneity.
    For this exhibition, McMillian will rework and collage an older painting into a monumental new work, immersing viewers in estranged, alien landscapes that speak to enduring systemic inequalities. Across these varied media, McMillian examines the visible and invisible forces that shape the body politic, particularly in the lives of African Americans. For McMillian, as for so many citizens, the past is never passed, but is more akin to fertilizer that feeds and cultivates the landscapes we navigate every day.

    Artist Bio

    Rodney McMillian works with the intersections of power, race, class, and culture in paintings, sculptures, installations, video, and performance. He uses political texts and found, often domestic, materials such as house paint, cast-off furniture, fabric, and thrifted bedsheets, among others, to create works that trace these intersections in our everyday landscape. McMillian has exhibited widely, including the 2008 and 2022 Whitney Biennials; the 2021 Prospect.5 New Orleans: Yesterday You Said Tomorrow; and the 2015 Sharjah Biennial. He received Contemporary Austin’s initial Suzanne Deal Booth Art Prize in 2016, and the resulting solo exhibition Against a Civic Death was on view in 2018. Solo exhibitions have been staged at the Blaffer Museum, Houston, Texas; the Underground Museum, Los Angeles; the San Francisco Museum of Modern Art; the Institute of Contemporary Art, Philadelphia; the Studio Museum in Harlem; MoMA PS.1, New York; and the Aspen Art Museum, Colorado. His work has also been included in group exhibitions at The National Portrait Gallery, London; MASS MoCA, North Adams, MA; the CCA Wattis Institute, San Francisco, CA; the Astrup Fearnley Museet, Oslo, Norway; the Institute of Contemporary Art, Boston; the Contemporary Art Museum Houston; the Museum of Contemporary Art, Los Angeles; the Museum of Contemporary Art, Chicago; the UCLA Hammer Museum, Los Angeles; the Renaissance Society at the University of Chicago; and the Los Angeles County Museum of Art, among many others. His work is included in the collections of the Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; San Francisco Museum of Modern Art, San Francisco; Stadtisches Museum Abteiberg, Monchengladbach, Germany; and The Studio Museum in Harlem, New York. McMillian received an MFA from the California Institute of the Arts in 2002; he is currently a professor in sculpture at the University of California, Los Angeles.
    CREDITS

    Rodney McMillian: Neighbors is organized by Anthony Elms, guest curator, and was conceived by Shamim M. Momin, former Director of Curatorial Affairs, Henry Art Gallery.

    Exhibitions at the Henry are made possible through the generous support of our annual sponsors, 4Culture and ArtsFund.

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