Satellite Art Show: Inherited Truths | Inherited Prides
Dec 1 – 4 | 1510 Collins Ave at the Parisian Hotel | Booth #22

The Southern to debut “Inherited Truths | Inherited Prides” at Satellite Art Show in South Beach Miami. Generational narratives are explored, exposed, and reckoned through performance-based photography, collage, printmaking, and sculpture. Brown considers memory, myth, and rituals of common objects and architectural spaces creating a confrontational and seductive story. Dudik questions the preservation of a convoluted history and the modern day re-enactors who aim to appropriate honor for their fallen ancestors. Quashie illustrates the vicious cycle of acquisition, sale, discipline, domestication and revolt / freedom upheaving the white-washed, romanticized re-branding of plantations in the American South. Together, the artists present a larger narrative which challenges the viewer’s own impressions of family and hidden histories which have been passed down through time.

Still Lives: Ian Dillinger by Eliot Dudik


Michaela Pilar Brown is an image and object maker. She studied sculpture and art history at Howard University, though she has always been a maker of things. Born in Bangor, Maine and raised in Denver, Colorado, she cut her teeth in the halls of a museum where her mother worked as a security guard, and has been immersed in the culture of objects, their making and interpretation ever since.

Eliot Dudik is a photographic artist, educator, and bookmaker exploring the connection between culture, memory, landscape, history, and politics. His first monograph, ROAD ENDS IN WATER, was published in 2010. In 2012, Dudik was named one of PDN’s 30 New and Emerging Photographers to Watch and one of Oxford American Magazine’s 100 New Superstars of Southern Art. He was awarded the PhotoNOLA Review Prize in 2014 for his Broken Land and Still Lives portfolio, resulting in a book publication and solo exhibition. Broken Land was most recently published as a feature in the July/August 2015 issue of Smithsonian Magazine. FLASH FORWARD 2015 chose the series for publication and exhibition in Toronto and Boston.

His photographs have been installed in group and solo exhibitions across the United States and Canada including Dishman Art Museum (TX), Morris Museum of Art (GA), Masur Museum of Art (LA), Muscarelle Museum of Art (VA), Cassilhaus (NC), Annenberg Space for Photography (CA), Columbia Museum of Art (SC), Southeast Museum of Photography (FL), Welch Gallery at Georgia State University (GA), Rebecca Randall Bryan Gallery at Coastal Carolina University (SC), Staniar Gallery at Washington and Lee University (VA), New Orleans Photo Alliance (LA), Carte Blanche Gallery (CA), Davis Gallery at the Mayo Clinic in Jacksonville (FL), Carlson Gallery at the University of La Verne (CA), and the Division Gallery in Toronto, Canada, for examples. Upcoming solo exhibitions also include the Griffin Museum of Photography (MA) and the Center for Fine Art Photography (CO).

Dudik taught photography at the University of South Carolina from 2011 to 2014 before founding the photography program within the Department of Art and Art History at the College of William & Mary where he is currently teaching and directing the Andrews Gallery at the college.

In this post-modern era, Colin Quashie’s highly charged political art may be called “conceptual”. Artistically and aesthetically, much of his art is closely allied to the ideals of the pop-art movement of the 1960’s and 70’s, but the subject matter is radically different from that explored in the earlier genre.

Quashie’s art faces off against hard issues of culture, politics and race with a self-conscious awareness that often offends (or disturbs) black, white and other; he discriminates with equality and equanimity. Quashie is equal to the hard questions he raises, but often the issues are camouflaged in pop-culture imagery and a form of Warholesque flashiness that confounds as well as derides the spectator.

Operating in the tradition of the French avant-garde artists, Quashie challenges the status quo mentality and functioning on frustration with the vision of the masses; a vision that he hopes to help shape and determine by raising questions that the audience might prefer to avoid. His work encompasses a conceptual element which shapes its meaning and underscores the use of art as didactic tools for society. Through the use of ‘positive’ social anger, Quashie uses his art to scrutinize the power bases of our social system, forcing us to examine our collective political perceptions. His point of view makes its mark by challenging us to be more thoughtful, expressive and more aware. With blatant disregard for compromise, he confronts our favorite beliefs, and forces us to think about the roles we occupy in society. Recurrently controversial, his art, “…is as current as yesterday’s headlines, bold and brash like rap music…the equivalent of a three second sound byte; quick, easy and to the point.”

Quashie was born in London, England (1963) and raised in the West Indies. At age six, his parents immigrated to the States and settled in Daytona Beach. The artist briefly attended the University of Florida on a full academic scholarship, but felt ill at ease in academia and left, eventually joining the Navy as a submarine Sonarman. It was there that his lifelong love for art re-emerged. After his discharge in 1987, he made the decision to pursue an art career. Showing steady growth, his art career ended abruptly in 1995 after an exhibition was censored. Frustrated with the art world, he abandoned art, moved West and landed a job as a comedy sketch writer on Mad-Tv. His love for art re-emerged two years later and since then, in between writing gigs (he has written for 6 comedy series, associate produced an independent feature film and in 2001 received an Emmy award for documentary writing), he continues to produce his unique brand of art. He lives in Charleston, South Carolina where he paints while developing work for television and freelancing as a graphic artist.

Stolen Lives by Michaela Pilar Brown
Battle Tomorrow, swing by Michaela Pilar Brown