Sonya Clark

résumé | DOWNLOAD PDF

Education | View

    • Amherst College, Doctor of Arts, honoris causa, Amherst, Massachusetts
    • Cranbrook Academy of Art, MFA, Bloomfield Hills, Michigan
    • School of the Art Institute of Chicago, BFA, Chicago, Illinois
    • Amherst College, BA, Amherst, Massachusetts

Grants, Awards, and Residencies | View

    2017 |

    • American Academy in Rome, VCUarts Affiliate Resident, Rome, Italy
    • Yaddo Residency, Saratoga Springs, New York
    • Brandywine Workshop Lifetime Achievement Award with Ruth Fine and El Anatsui
    • Virginia Museum of Fine Arts Professional Fellowship

    2016 |

    • University Distinguished Scholarship Award, Virginia Commonwealth University
    • Distinguished Research Faculty Fellow, School of the Arts, Virginia Commonwealth University
    • BAU Institute Residency at Carmago Foundation, Cassis, France
    • Gibbes Museum Artist in Residence, Charleston, South Carolina

    2015 |

    • VCU Arts Faculty Award for Distinguished Achievement in Research, Richmond, VA
    • Style Weekly 2015 Power List, Top Ten In Arts And Culture, Richmond, VA
    • Kidder Artist-in-Residence, Institute for the Humanities, University of Michigan, Ann Arbor, MI
    • Fanoon Center for Printmedia Research, VCU-Qatar, Doha, Qatar

    2014 |

    • ArtPrize Grand Juried Prize co-winner
    • ArtPrize Juried Award, Best Two-Dimensional Work
    • 1858 Award for Southern Contemporary Art, Gibbes Museum of Art, Charleston, SC
    • CODA Award for public art project with Gensler and Indianapolis Museum at Alexander Hotel
    • Theresa Pollak Award, Richmond VA

    2013 |

    • Craft Research Grant, Center for Craft Creativity and Design

    2012 |

    • Belle Women in the Arts Award, Richmond, VA
    • Civitella Ranieri Foundation Fellowship, Umbertide, Italy

    2011 |

    • United States Artists Fellow
    • Smithsonian Artist Research Fellowship
    • Cranbrook Academy of Art Distinguished Mid-Career Alumni Award
    • Virginia Museum of Fine Arts Professional Fellowship
    • McColl Center Artist in Residence, Charlotte, North Carolina

    2010 |

    • Smithsonian Artist Research Fellowship

    2009 |

    • Virginia Commission for the Arts (VCA) Fellowship
    • Outstanding Woman in the Arts for the State of Virginia VCA
    • Terry Family Foundation Edenfred Residency, Madison, Wisconsin
    • Donald Jay Gordon Visiting Artist, Swarthmore College

    2008 |

    • Top Ten Exhibits 2008 (City Paper) in Baltimore, Maryland

    2006 |

    • Rockefeller Foundation, Bellagio Residency, Bellagio, Italy
    • Pollock Krasner Grant

    2005 |

    • Ruth Chenven Foundation Award
    • Red Gate Artist in Residence, Beijing, China

    2004 |

    • Romnes Award, University of Wisconsin-Madison
    • Emily Mead Baldwin-Bascom Professorship in Creative Arts
    • Joan C. Edwards Distinguished Professor in the Arts Residency, Marshall University, West Virginia

    2002 |

    • University of Wisconsin-Madison Research Grant
    • Meta Schroeder Beckner Endowment Grant Funding for the Beaded Prayers Project

    2001 |

    • University of Wisconsin-Madison Research Grant
    • CityArts Grant (Baltimore, Maryland)

    2000 |

    • University of Wisconsin-Madison Research Grant
    • Lillian Elliott Award
    • Meta Schroeder Beckner Endowment Grant
    • Wisconsin Arts Board Artist Fellowship Award

    1999 |

    • Arts Institute Edna Wiechers Grant

    1997 |

    • University of Wisconsin-Madison Research Grant

    1996 |

    • Hunter Museum of Art Juror’s Choice Award, Juror: Sam Gilliam

    1994 |

    • Nita “Billie” Barak Memorial Merit Scholarship (Cranbrook Academy of Art)
    • Smithsonian Institution Graduate Fellowship (National Museum of African Art)

    1993 |

    • Philip Morris Fellowship for graduate education at Cranbrook Academy of Art

    1992 |

    • Jack Lenor Larsen Scholarship (Haystack Mountain School of Crafts)
    • Undergraduate Merit Scholarship (Art Institute of Chicago)

    1988 |

    • Excellence in Scholarship Prize in Psychology (Amherst College)

Selected One and Two Person Exhibits | View

    2017 |

    • Oaths and Epithets, Society for Contemporary Craft, Pittsburgh, Pennsylvania
    • Now and Then, Tuttle Gallery, Owings Mills, Maryland
    • Hair Craft Project (in collaboration with 12 hairdressers (catalogue),Welsh Galleries, Georgia State University, Atlanta, Georgia / University Art Galleries, University of La Verne, La Verne, California

    2016 |

    • Follicular, Taubman Museum, Roanoke, Virginia
    • Bitter, Sweet, and TenderSecond Street Gallery, Charlottesville, Virginia
    • Generations: Joyce Scott and Sonya Clark, Goya Contemporary, Baltimore, Maryland
    • Hair Stories, Germantown Academy, Fort Washington, Pennsylvania

    2015 |

    • Sonya Clark, University of Michigan, Institute of Humanities Center, Ann Arbor, Michigan

    2014 |

    • Same Difference, Reynolds Gallery, Richmond, Virginia
    • Black and White and Thread All Over, George Mason University, VA and Millersville University, PA
    • Hair Craft Project (Collaboration with 11 local hairdressers), 1708 Gallery, Richmond, Virginia

    2013 |

    • Hassinger & Clark: Combs and Constellations, University of Delaware Museums, Newark, DE
    • Ahead of Hair, Contemporary Wing, Washington, DC
    • Material Reflex, Winthrop University, Rock Hill, South Carolina
      Craft and Folk Art Museum, Los Angeles, California

    2012 |

    • Tales and Tresses, Seedspace, Nashville, Tennessee
    • Converge: Sonya Clark and Quisqueya Henriquez, McColl Art Center, Charlotte, North Carolina
    • Sonya Clark, Russell Hill Rogers Gallery, Southwest School of Art, San Antonio, Texas
      Snyderman Works Gallery, Philadelphia, Pennsylvania

    2009 |

    • Combs: Pieces and Parts, List Gallery, Swarthmore College, Pennsylvania

    2008 |

    • Loose Strands, Tight Knots, Walters Museum of Art, Baltimore, Maryland
    • Groom Room, Delaware Contemporary Art Center, Wilmington, Delaware
    • Transformers: Sonya Clark and David Ellis,Corridor Gallery, Brooklyn, New York

    2006 |

    • Sonya Clark: Tangles, Teeth, and Touch(catalog)Cannon Gallery. North Carolina State University, Raleigh, North Carolina
    • Tangles and Teeth, Kohler Arts Center, Sheboygan, Wisconsin

    2005 |

    • Genes and Gestures(catalog)Art at Marygrove, Detroit, Michigan

    2004 |

    • PlexusBirke Art Gallery, Marshall University, Charleston, West Virginia

    2003 |

    • Reach, Maxwell Gallery, Canberra, Australia
    • Sonya Clark, Sherry Leedy Contemporary Arts, Kansas City, Missouri
    • Growth, Morlan Gallery, Transylvania University, Lexington, Kentucky

    2002 |

    • Sonya Clark, Galerie Goettlicher, Krems-Stein, Austria
    • Sonya Clark and Syd Carpenter, Stella Jones Gallery. New Orleans, Louisiana.

    2001 |

    • African Inspirations: Sculpted Headwear(catalog)University of Iowa Museum of Art, Iowa City, Iowa (traveled through 2002)Indianapolis Art Museum, Indianapolis, Indiana
    • Sensory Perceptions, Galerie Francoise, e.s.f., Brooklandville, Maryland
    • Couples, Duples and Dopplegangers, Anderson Gallery, Birmingham, Michigan

    2000 |

    • Head Ways, YMI Cultural Center, Asheville, North Carolina
    • Wall Talk, Anderson Gallery, Birmingham, Michigan
    • Cultural Memories, Second Street Gallery, Charlottesville, Virginia
    • Common Ties: Dots & Dashes, Beads & Beauty: Bolaji Campbell and Sonya Clark(catalog)Wisconsin Union Gallery, Madison, Wisconsin

    1999 |

    • Prepositions, Galerie Francoise, e.s.f., Brooklandville, Maryland
    • Wall Talk, Anderson Gallery, Birmingham, Michigan
    • Heads and Tales, Wisconsin Academy Gallery, Madison, Wisconsin

    1998 |

    • Wigs, Anderson Gallery Pontiac, Michigan
    • Parted, Plaited and Piled, Leedy Voulkos Gallery, Kansas City, Missouri
    • Diadems, Museum of Decorative Art, Montreal, Canada

    1997 |

    • New Work, Kansas City Artists Coalition, Missouri
    • Sonya Clark and Vernal Bogren Swift, Jayne Gallery. Kansas City, Missouri

    1996 |

    • Sonya Clark, Anderson Gallery, Pontiac, Michigan

    1995 |

    • The Culture WithinN. C. A. Gallery, Fisher Building, Detroit, Michigan
    • Sonya Clark and Carole Harris, Anderson Gallery, Pontiac, Michigan

Selected Group Exhibits | View

    2017 |

    • Weaving Dreams, Mini Artextil
      • Arte & Arte, San Francesco, Como, Italy
      • Chateau du Val Fleury, Gif-sur-Yvette, France
      • Montrouge, France
      • Venice, Italy

    2016 |

    • Premio Michetti, Museo Michetti, Fancavilla al Mare, Italy
    • Baltimore Rising, Riggs Leidy Gallery, Baltimore, Maryland
    • At the Seams, Grimsby Public Art Gallery, Ontario, Canada
    • The Things We Carry, Gibbes Museum, Charleston, South Carolina
    • Material Mythologies, Minnesota Museum of American Art, St. Paul, Minnesota
    • State of the Art, Minneapolis Institute of Art, Minneapolis, Minnesota
    • The Faces of Politics: In/tolerance, Fuller Museum, Brockton, Massachusetts

    2015 |

    • Art Miami with Goya Contemporary, Miami, Florida
    • Well Worn Truths, Masur Art Museum, Monroe, Louisiana
    • Crafted: Objects in Flux, Museum of Fine Arts- Boston, Massachusetts
    • Speaking with Thread, Craft Alliance, St. Louis, Missouri
    • New Dominion, Mixed Greens, New York, New York
    • A kind of confession, Metal Museum, Memphis, Tennessee
    • Fusion: Art of the 21st Century, Virginia Museum of Fine Arts, Richmond, Virginia
    • Featured Objects, Bellevue Art Museum, Bellevue, Washington
    • Crafting Civil (War) Conversations, McKissick Museum, Columbia, South Carolina
    • Bead, Greater Reston Arts Center, Reston, Virginia
    • Material Fix, Kohler Art Center, Sheboygan, Wisconsin
    • Selfies: 50 at 50, Russell Hill Rogers Gallery, Southwest School of Art, San Antonio, Texas
    • Identities: African American Art from the Petrucci Foundation Collection, Schmucker Gallery, Gettysburg Collge, Gettysburg, Pennsylvania and Ben Shahn Center for the Arts, William Paterson University, Wayne, Pennsylvania

    2014 |

    • Eye of the Needle, KODE – Art Museums of Bergen, Norway and National Museum of Art and Architecture and Design, Olso, Norway
    • Anywhere but now, Wilton House Museum, Richmond, Virginia
    • Loving After Lifetimes of All This, La Esquina, Kansas City, Missouri
    • I am: Money Matters, KCAD Gallery, Grand Rapids, Michigan
    • Brides of Anansi, Spelman Museum of Fine Art, Atlanta, Georgia
    • State of the Art, Discovering American Art Now, Crystal Bridges Museum of Art, Bentonville, Arkansas
    • For Whom it Stands, Lewis Museum, Baltimore, Maryland
    • Friends with Benefits, Contemporary Wing, Washington, DC
    • Multiple Exposures, Museum of Arts and Design, New York, New York
    • Identity Shifts, Virginia Museum of Fine Arts, Richmond, Virginia
    • 9th Fiber Biennial, Snyderman Works Gallery, Philadelphia, Pennsylvania

    2013 |

    • The Detroit Show, NCA Gallery, Detroit, Michigan
    • Missed Connections, Reynolds Gallery, Richmond, Virginia
    • In My Hair, Rack and Hamper Gallery, New York, New York
    • Arte Laguna, (catalog) Arsenale, Venice, Italy
    • Dazzling Dancing Beads, North Dakota Museum of Art, Grand Forks, South Dakota
    • Scope Art Fair with Contemporary Wing Gallery, Scope Pavilion, New York, New York
    • Nowhere Differentiable, (catalog) Simons Center Gallery, SUNY Stony Brook, New York
    • 0 to 60, (catalog) North Carolina Museum of Art, Raleigh, North Carolina
    • Gone Viral, (catalog) Marion Art Gallery, Fredonia, New York

    2012 |

    • Soul of a City, Brooks Museum, Memphis, Tennessee
    • NEXT: Artists selected from 30 Americans, (catalog) Contemporary Wing, Washington, DC
    • Art of Seduction, Rouse Gallery, Howard County Community College, Columbia, Maryland
    • In Material, (catalog) Arthur Ross Gallery, University of Pennsylvania, Philadelphia, Pennsylvania
    • 8th Fiber Biennial, Snyderman Works Gallery, Philadelphia, Pennsylvania
    • Magical Visions, University of Delaware, Newark, Delaware

    2011 |

    • DUBH: dialogues in black (travels through 2012)
      American Irish Historical Society, New York, New York
      Oliver Sears Gallery, Dublin, Ireland
    • SOFA Chicago, Navy Pier, Chicago, Illinois with Snyderman Gallery
    • Identify Yourself, Craft Alliance, St Louis, Missouri
    • Material Girls, Reginald Lewis Museum, Baltimore, Maryland
      Cosby Museum of Art, Spelman College, Atlanta, Georgia

    2010 |

    • Global Africa, Museum of Arts and Design, New York, New York
    • New Material World: Rethreading Technology, Sheldon Art Museum, Lincoln, Nebraska
    • True Self, Madison Museum of Contemporary Art, Madison, Wisconsin
    • SOFA NY, (Snyderman-Works Gallery)Armory, New York, New York
    • Hand+Mind, Contemporary Art Museum of Houston, Houston, Texas
    • The New Materiality: Digital Dialogues at The Boundaries of Contemporary Craft, Fuller Museum of Craft, Brockton, Massachusetts
    • Social Skin, Anderson Gallery, Richmond, Virginia
    • Repurpose, Reuse, Recycle, City of Brea Art Gallery, Brea, California
    • Reflecting and Recollecting, 1708 Satellite exhibit at Linden Row, Richmond, Virginia
    • Wearable Art/Unwearable Fashion, Vis Arts Center, Rockville, Maryland
    • 7th International Fiber Biennial, Snyderman – Works Gallery, Philadelphia, Pennsylvania
    • Wearing Spirit, Caribbean Cultural Center African Diaspora Institute, New York, New York
    • The Medium is the Message, Peninsula School of Art, Fish Creek, Wisconsin
    • Fiber Clay Glass Stone, NCA Gallery, Detroit, Michigan

    2009 |

    • Generously Odd: Craft Now, Lexington Art League, Lexington, Kentucky
    • BlackDCAC, Washington, DC
    • Rockstone and Bootheel: Contemporary West Indian Art, Real Art Ways, Hartford, Connecticut
    • Dress Codes: Clothing as Metaphor in Contemporary Art, Katonah Museum of Art, Katonah, New York
    • Complex Weave (travels through 2015), Stedman Gallery, Rutgers University, Camden, New JerseyCenter for the Arts Gallery, Towson University, Towson, MarylandLore Degenstein Gallery, Susquehanna University, Selinsgrove, Pennsylvania
    • Decadence and Decay: The Mansion Project, Krueger-Scott Mansion, Newark, New Jersey
    • Illinois, McLean County Arts Center, Bloomington, Illinois
    • Cheongju International Craft Biennale, Cheongju Arts Center, Cheongju, Korea
    • Taking Time (travels through 2011), Birmingham Museum of Art, EnglandDovecot Studios, Edinburgh, ScotlandHarley Gallery, Worksop, England,Millennium Court Arts Centre, Portadown, IrelandUniversity of Hertfordshire Galleries, Hatfield, EnglandPlymouth City Museum and Art Gallery, Plymouth, EnglandPlatform Gallery, Clitheroe, England
    • Anglophone Caribbean, Real Art Ways, Hartford, Connecticut
    • Devalue of Money, Visual Arts Center, Rockville, Maryland
    • Uber Portrait, Bellevue Arts Museum, Bellevue, Washington
    • Upcycling, Architecture and Design Museum, Los Angeles, California
    • Hair on Fire, Halsey Institute of Contemporary Art, College of Charleston, South Carolina
    • Tasting Memory, Avery Research Center, College of Charleston, South Carolina

    2008 |

    • Political Circus, Ritter Gallery, Florida Atlantic University Boca Raton, Florida
    • Go Green, Dow Studios, Deer Isle, Maine
    • SOFA Chicago, (Snyderman-Works Gallery)Navy Pier, Chicago, Illinois
    • Manufractured, Museum of Contemporary Craft, Portland, Oregon
    • Second Lives, Museum of Art and Design, New York, New York
    • Duets, Dow Studio, Deer Isle, Maine
    • Embrace: Atlanta, Mason Muer Gallery, Atlanta, Georgia
    • Political Craft, Society for American Craft, Boston, Massachusetts
    • Altered Geometry: Contemporary Sculpture from the Collection, Madison Museum of Contemporary Art, Madison, Wisconsin
    • Conceptual Edge, NCA Gallery, Detroit, Michigan
    • Mami Wata: Arts for Water Spirits (Travels through 2011)UCLA Fowler Museum, Los Angeles, CaliforniaChazen Museum, Madison, WisconsinNational Museum of African Art, Washington, DCCantor Center for Visual Arts, Stanford University, Palo Alto, California
    • 6th International Fiber Biennial, Snyderman-Works Gallery, Philadelphia, Pennsylvania
    • the matter at hand, Memphis College of Art, Tennessee
    • National Black Fine Art Show, NCA Gallery, Puck Building, New York, New York
    • From Taboo to Icon, Ice Box Project Space, Philadelphia, Pennsylvania

    2007 |

    • Pricked: Extreme Embroidery, Museum of Arts and Design, New York, New York
    • Material Culture, Longwood Gallery @ Hostos. Bronx, New York
    • Conceptual Edge, NCA Gallery, Detroit, Michigan
    • and I am blue… McLean County Arts Center, Bloomington, Illinois
    • Well Dressed, Nathan Cummings Foundation, New York, New York
    • Orion’s Belt, Sheridan Fine Art Gallery, University of Nevada-Reno
    • Hot House, Cranbrook Museum of Art, Bloomfield Hills, MichiganReading Museum of Art, Reading, Pennsylvania
    • National Black Fine Art Show, NCA Gallery, Puck Building, New York, New York

    2006 |

    • Twisted Roots, (WPA/Corcoran Exchange Project)DCAC, Washington, DC
    • Hair, Lisa Sette Gallery, Scottsdale, Arizona
    • SOFA NYC, (Snyderman-Works Gallery)Armory, New York, New York
    • Artificial Afrika, Gigantic Art Space, New York, New York
    • 5th International Fiber Biennial, Snyderman-Works Gallery, Philadelphia, Pennsylvania
    • The Conceptual Edge, N. C. A. Gallery. Detroit, Michigan

    2005 |

    • Small Works, N. C. A. Gallery, Detroit, Michigan
    • Material Inquiry, Macalaster College, St. Paul Minnesota
    • Yoruba Beadwork and African American Art, Bead Museum, Glendale, Arizona
    • Community: Fiber and Clay, Overture Gallery, Madison, WisconsinRiver Arts Center, Sauk City, WisconsinColucci Gallery, Madison, Wisconsin

    2004 |

    • A Decade of Art, Wisconsin Academy Gallery, Madison, Wisconsin
    • Convergence/Divergence, Goldstein Museum of Design, St. Paul, Minnesota
    • Draw Drawing, Gallery 32, London, England

    2003 |

    • Black Russian, Galerie Francoise, e.s.f., Brooklandville, Maryland
    • Triennial, Chazen Museum of Art, Madison, Wisconsin
    • Destinies:Yoruba Art in America-Sonya Clark, Michael Harris, Moyo Ogundipe and Moyo Okediji, Myhren Gallery, University of Denver, Denver, Colorado
    • Threading the Eye, Sherry Leedy Contemporary, Kansas City, Missouri
    • Women on the Edge, R. Duane Reed Gallery, St. Louis, Missouri
    • Contemporary Art of the University of Wisconsin-Madison, Casa Thomas Jefferson, Brasilia, BrazilMuseu de Arte de Brasilia, Brazil
    • The Nature of Things, N. C. A. Gallery, Detroit, Michigan
    • Pins and Needles, Kohler Arts Center, Sheboygan, Wisconsin
    • Charmed Lives, Facere Art Gallery, Seattle, Washington
    • Breaking Ground, Gallery at The Park School, Baltimore, Maryland
    • Hair Stories, (catalog)Scottsdale Museum of Art, Arizona (traveled through 2005)Chicago Cultural Center, IllinoisClark Atlanta University Art Gallery, GeorgiaMuseum of the African Diaspora, San Francisco, CaliforniaContemporary Arts Center, New Orleans, LouisianaForty Acres Art Gallery, Sacramento, California
    • 30 Years at Second Street Gallery, Second Street Gallery. Charlottesville, Virginia

    2002 |

    • 7th International Mini-Textiles Triennial, (catalog)Jean Lurcat Tapestry Museum, Angers, France. (traveled through 2005)St. Gall Textile Museum, Switzerland
    • The Relevance of Making, Penland Gallery, Penland, North Carolina
    • Made from Scratch, Chicago Athenaeum, Chicago, Illinois
    • The Audacious Bead, Bead Museum, Washington, D.C.
    • The Freed Bead, Target Gallery at the Torpedo Factory, Alexandria, Virginia
    • The Belles of Amherst, Mead Art Museum. Amherst, Massachusetts
    • African Inspirations, Victor Valley Museum. Apple Valley California

    2001 |

    • Amherst College Alumni Exhibit, Mead Art Museum. Amherst, Massachusetts
    • Objects of Affection, N.C.A. Gallery, Fisher Building, Detroit, Michigan

    2000 |

    • Out on a Limb, Ohio Craft Museum, Columbus, Ohio
    • Crosscurrents 2000, (catalog)The Art Gallery, University of Maryland, College Park, Maryland
    • Women’s World: A Work in Progress, Brookfield Craft Center, Brookfield, Connecticut
    • Bead International 2000 Jurors: David Chatt, Ken Trapp, NanC Meinhardt, Dairy Barn Southeastern Ohio Cultural Arts Center. Athens, Ohio (traveled through 2002)Mitchell Museum, Mount Vernon, IllinoisPratt Museum, Homer, AlaskaUniversity of Alaska Museum, Fairbanks, AlaskaYork County Museum, Rock Hill, South CarolinaHolland Arts Council, Holland, MichiganMuseum in the Community, Hurricane, West Virginia
    • Women’s Work: Sonya Clark, Jaune Quick-To-See Smith, and Gabrielle Ellertson, Gallery 101, University of Wisconsin, River Falls, Wisconsin
    • 7th International Shoebox Sculpture Exhibition, University of Hawaii Art Gallery, Honolulu, Hawaii (traveled through 2002)Kukui Grove Center Exhibition Hall, Lilue, HawaiiHarrison Museum of Art, Logan, UtahAmerican Cultural Center, Taipei, TaiwanNational Cheng Kung University, Tainan, TaiwanProvidence University, Taichung, TaiwanUniversity of Arkansas-Little RockWright State University, Dayton, OhioMurray State University, Murray, KentuckyArt Center at Hargate, St. Paul’s School, Concord, New HampshireEast Hawaii Cultural Center, Hilo, HawaiiMaui Arts and Cultural Center, Kahului, Hawaii
    • Mosaic: Culture and Identity in America, Hampton University Museum, Hampton, Virginia

    1999 |

    • Needle and Thread, Wendy Cooper Gallery, Madison, Wisconsin
    • The Practiced Hand: Constructions and Sculptural Fiber, South Bend Regional Art Museum, South Bend, Indiana
    • BEADZ! The Beaded Universe: Strands of Culture, American Craft Museum, New York, New York
    • Wisconsin Triennial, (catalog)Madison Art Center, Madison, Wisconsin
    • Cultural Influences in Craft, Penland Gallery, Penland, North Carolina
    • Color Theory, College of Visual Art, St. Paul, Minnesota
    • State of the Art, Gallery of Design, University of Wisconsin-Madison
    • Ancestral Images: Contemporary Interpretations, George Spiva Center for the Arts, Joplin, Missouri
    • NON-Function: Objects for Contemplation, Penland Gallery, Penland, North Carolina

    1998 |

    • Wrapped in Pride: Ghanaian Kente and African American Identity, (catalog)Newark Museum of Art, Newark, New Jersey (traveled through 2002)The Oakland Museum, Oakland, CaliforniaField Museum of Natural History, Chicago, IllinoisSt. Louis Art Museum, St. Louis, MissouriAnchorage Museum of History and Art, Anchorage, AlaskaCarlos Museum, Emory University, Atlanta, GeorgiaDetroit Museum of African American History, Detroit, MichiganSmithsonian Institution: National Museum of African Art, Washington, D.C.UCLA Fowler Museum, Los Angeles, CA
    • Le Corps Habite, Galerie Noel Guyomarc’h, Bijoux d’Art. Montreal, Canada
    • Clarity of Seduction, Network Gallery. Pontiac, Michigan.
    • Transformed: Textiles as Creative Medium, Natal Society of the Arts, Durban, South Africa
    • Exposed Treasures: Sonya Clark, Liz Cherry Jones, Joyce Scott, Tuttle Gallery, McDonogh, Maryland

    1997 |

    • Pure Vision: American Bead Artists, (catalog)Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana (traveled through 2000)Fuller Museum of Art, Brockton, MassachusettsUniversity of Miami, Lowe Museum, Coral Gables, FloridaLamont Gallery, Exeter, New HampshirePhilbrook Museum, Tulsa, OklahomaLeedy Voulkos Art Center, Kansas City, MissouriIslip Art Museum, East Islip, New YorkMuseum of Art and History, Santa Cruz, CaliforniaDecorative Arts Museum:Arkansas Art Center, Little Rock, ArkansasBoise Art Museum, Boise, IdahoPensacola Museum of Art, Pensacola, Florida
    • New Eyes for Ancient Gods: Yoruba Orisa in Contemporary Art, Afro American & African Studies Gallery, University of Michigan, Ann Arbor (traveled through 1998)African American Cultural and Historical Museum, Washtenaw, Michigan
    • Rituals and Celebrations of the African Diaspora, South Shore Cultural Center, Chicago, Illinois
    • SOFA: Sculpture, Objects, Functional ArtNavy Pier, Chicago, Illinois. Representation: Anderson Gallery.
    • Crosscurrents: Journeys Within the African Diaspora, (catalog)Indianapolis Art Center. Indianapolis, Indiana
    • Surface to Surface, Art and Design Gallery, School of Fine Arts, University of Kansas, Lawrence, Kansas
    • What’s in the Air, (catalog)Kansas City Artists Coalition, Missouri
    • Peripheral Visions: Contemporary African American Artists, Valencia College Art Gallery. Orlando, Florida
    • 12th Annual Greater Midwest International Exhibition, Art Center Gallery, Central Missouri State. Warrensburg, Missouri

    1996 |

    • The Rebellious Bead, Bellevue Art Museum, Bellevue, Washington (traveled through 1999)Museum of the Southwest, Midland, Texas
    • NIFTA (New Initiatives for the Arts) Ten Year Anniversary Exhibition, Besser Museum, Alpena, Michigan (traveled through 1997)Northern Michigan University Art Museum, Marquette, MichiganSaginaw Art Museum, Saginaw, MichiganMuseum of African American History, Detroit, Michigan
    • Materials: Hard and Soft, (catalog)Meadows Gallery, Greater Denton Arts Council, Denton, Texas
    • Growing Into the 21st Century: New Acquisitions from 1990-1996, Hampton University Art Museum, Hampton, Virginia
    • ARTstravaganza, Hunter Museum of American Art, Chattanooga, Tennessee
    • Art Reflects, Cranbrook Art Museum, Bloomfield Hills, Michigan
    • Word/Image, N.C.A. Gallery, Detroit, Michigan

    1995 |

    • The Ties That Bind, (catalog)University of Michigan, Ann Arbor, Michigan (traveled through 1996)Museum of African American History, Detroit, MichiganJesse Besser Museum, Alpena, MichiganNorthwood University, Midland, Michigan
    • New Work from Cranbrook Academy of Art, John Wilson Center Gallery, Washington, D.C.
    • Celebration of Style, Sande Webster Gallery, Philadelphia, Pennsylvania
    • New Directions, Hoffman Gallery, Portland, Oregon
    • In/Justice, Detroit Artists Market, Detroit, Michigan
    • Intersections Interstices, (catalog)Burlingham Building Pontiac, Michigan

    1994 |

    • Expressions of Faith and a Marginalized Existence, Dadian Gallery, Washington, D.C.
    • Rhythms, N.C.A. Gallery, Detroit, Michigan
    • Chautauqua International, Adams Art Gallery, Dunkirk, New York
    • Necessity and Memory, (catalog)Detroit Artists Market, Detroit, Michigan
    • Hard vs. Soft, (catalog)Forum Gallery, Cranbrook Art Museum. Bloomfield Hills, Michigan
    • New Habits, Textile Arts Centre, Chicago, Illinois
    • Antibodies at the End of the Millennium, Forum Gallery, Bloomfield Hills, Michigan

    1993 |

    • Chautauqua International, Adams Art Gallery, Dunkirk, New York

beaded prayers project | www.beadedprayersproject.com

    • a collaborative project designed and directed by Sonya Clark created by over 4500 participants from more than 30 countries

Exhibits

    2012 |

    • Virginia Commonwealth University Qatar Gallery, Doha, Qatar

    2009 |

    • Anderson Gallery, VCU Arts, Richmond, Virginia

    2008 |

    • University of Nebraska – Lincoln
    • Newark Museum of Art, Newark, New Jersey
    • Icebox, Philadelphia, Pennsylvania

    2007 |

    • Haystack Community Center, Deer Isle, Maine
    • Purdue University Galleries, West Lafayette, Indiana
    • Manchester Craftsmen’s Guild, Pittsburgh, Pennsylvania
    • Queens Borough Public Library, Jamaica, New York

    2006 |

    • Museum of the African Diaspora, San Francisco, California
    • King Arts Complex, Columbus, Ohio

    2005 |

    • Museum of the National Center of Afro-American Artists, Boston, Massachusetts
    • NCA Gallery, Detroit, Michigan
    • Association of the Worldwide Study of the African Diaspora Conference, Rio de Janeiro, Brazil
    • Florida A &M University, Tallahassee, Florida

    2004 |

    • Silver Cultural Arts Center, Plymouth, New Hampshire
    • River Arts Center, Sauk City, Wisconsin
    • Montreal Arts Interculturels, Montreal, Canada

    2003 |

    • Baltimore Museum of Art, Baltimore, Maryland
    • Art Gallery, Berea College, Berea, Kentucky
    • McLean Arts Center, Bloomington, Illinois

    2002 |

    • St. Thomas University, St. Paul, Minnesota,
    • American Library Association Conference, Atlanta, Georgia
    • McDonogh School, Owings Mills, Maryland
    • College of Art at Kwame Nkrumah University, Kumasi, Ghana

    2001 |

    • Creative Alliance, Baltimore, Maryland
    • Madison Municipal Building Gallery, Madison, Wisconsin
    • Seippel Center for the Arts, Beaver Dam, Wisconsin

    2000 |

    • Gallery of Design, University of Wisconsin-Madison
    • Canberra School of Art, Australian National University

Selected Beaded Prayers Project Lectures and Workshops

    • over 75 lectures and workshops held

    2005 |

    • Wellesley College, Wellesley, Massachusetts

    2004 |

    • Baltimore Museum of Art. Baltimore, Maryland

    2003 |

    • Transylvania University, Lexington, Kentucky
    • Milwaukee Area Technical College. Milwaukee, Wisconsin
    • Baltimore Museum of Art. Baltimore, Maryland

    2002 |

    • Baltimore Museum of Art. Baltimore, Maryland
    • Waverly Center for Teen Parents, Baltimore, Maryland
    • Columbia College, Art Department. Chicago, Illinois
    • Boys and Girls Club, Madison, Wisconsin
    • St. Paul’s Schools, Brooklandville, Maryland
    • College Art Association, Philadelphia, Pennsylvania

    2001 |

    • St. Paul’s Schools, Brooklandville, Maryland
    • International Creators: 13th Annual Series. Harbourfront Center, Toronto, Canada
    • Textile Program, Sheridan College, Oakville, Canada
    • Detroit Institute of Art, Detroit, Michigan
    • Packer Collegiate, Brooklyn, New York
    • City of Madison Minority Affairs Committee, Madison, Wisconsin
    • Vera Court Girl Neighborhood Power, Madison, Wisconsin
    • African American Ethnic Academy, Madison, Wisconsin
    • Wilson School, Mequon, Wisconsin
    • artWORKS Afterschool Program, Packer Community Center, Madison, Wisconsin
    • Upward Bound, Beloit College, Beloit, Wisconsin
    • Fiber Program, Maryland Institute College of Art, Baltimore, Maryland
    • Seippel Center for the Arts, Beaver Dam, Wisconsin
    • Coolidge Elementary School, Detroit, Michigan
    • Jefferson School, Beaver Dam, Wisconsin
    • Penland School of Craft, Penland, North Carolina
    • Textile Friends at Roslyn Chapel, Pencuik, Scotland
    • Mahindra United World College, Pune, India

    2000 |

    • YMI Cultural Center. Asheville, North Carolina. 2000
    • Park School, Baltimore, Maryland
    • University of Wisconsin – Milwaukee, Art Department
    • Sauk City Middle School, Sauk City, Wisconsin
    • Memorial High School, Madison, Wisconsin
    • Greater Madison Urban League, Teen Parenting Program, Madison, Wisconsin
    • Charlottesville High School, Charlottesville, Virginia
    • River Falls Public Library, River Falls, Wisconsin
    • Milwaukee County Historical Society, Wisconsin
    • Chazen Museum of Art, Madison, Wisconsin

    1999 |

    • Columbus Art Museum, Ohio
    • Prevent Child Abuse Association, Madison, Wisconsin
    • Greater Chicago Bead Society, Chicago, Illinois

presentations and lectures

    • Museums:

    2009 |

    • Museum of Arts and Design, New York, New York

    2008 |

    • Museum of Arts and Design, New York, New York

    2006 |

    • American Folk Art Museum, New York, New York
    • National Museum of Women in the Arts, Washington, DC

    2002 |

    • Indianapolis Museum of Art, Indianapolis, Indiana
    • Minneapolis Institute of Art, Minneapolis, Minnesota
    • Nelson Atkins Museum, Kansas City, Missouri

    2001 |

    • Detroit Institute of Art, Detroit, Michigan
    • University of Iowa Museum of Art, Iowa City, Iowa

    1999 |

    • Detroit Institute of Art, Detroit, Michigan
    • National Museum of African Art, Washington, D.C.

    1998 |

    • Montreal Museum of Decorative Arts, Montreal, Canada

    1997 |

    • Chazen Museum of Art, University of Wisconsin, Madison, Wisconsin
    • National Museum of African Art, Washington, D.C.
    • Nelson Atkins Museum, Kansas City, Missouri

    1996 |

    • Detroit Institute of Art, Detroit, Michigan
    • Hampton Museum, Hampton, Virginia
    • Smithsonian Institution’s National Museum of African Art, Washington, D.C.
    • The Textile Museum, Washington, D.C.

    1994 |

    • National Museum of African Art, Washington, D.C.

    • Schools:

    2007 |

    • Oregon College of Art and Craft, Portland, Oregon

    2006 |

    • North Carolina State University, Raleigh, North Carolina

    2003 |

    • Denver University, Denver, Colorado
    • Haystack Mountain School of Crafts, Deer Isle, Michigan
    • Transylvania University, Lexington, Kentucky

    2002 |

    • Maryland Institute, College of Art, Baltimore, Maryland

    1999 |

    • College of Visual Arts, University of Massachusetts Dartmouth
    • Maryland Institute, College of Art, Baltimore, Maryland

    1998 |

    • Cranbrook Academy of Art, Bloomfield Hills, Michigan
    • Penland School of Crafts, Penland, North Carolina

    1997 |

    • Haystack Mountain School of Crafts, Deer Isle, Michigan
    • School of the Art Institute of Chicago, Illinois
    • Surface Design Association Conference, Lawrence, Kansas

    1996 |

    • Kansas City Art Institute, Kansas City, Missouri
    • University of Kansas -Lawrence, Lawrence, Kansas

    1994 |

    • Philadelphia University, Philadelphia, Pennsylvania

    • Conferences:

    2016 |

    • Keynote, American Craft Council Conference, Omaha, Nebraska
    • College Art Association, “The Black Craftsman Situation”, Washington, DC

    2015 |

    • International Society for Improvised Music, Chateaux d’oex, Switzerland

    2014 |

    • Embodied Knowledge: Sensory Studies in the 21st Century: University of Wisconsin-Madison

    2010 |

    • A Complex Weave: Women and Identity in Contemporary Art, Towson University

    2009 |

    • Art of Fine Craft, Lincoln, Nebraska
    • Embodying the Sacred, VCU Anderson Gallery, Richmond, Virginia
    • Recycling in African Art, Harn Museum, Gainesville, Florida
    • Making Past, Present and Future Conference, Haystack, Deer Isle, Maine
    • Panelist, Transformations, Maryland Institute College of Art, Baltimore, Maryland

    2005 |

    • Craft and Design: Hand, Mind and Creative Process, Haystack, Deer Isle, Maine,

    2004 |

    • Craft and Design: Hand, Mind and Creative Process, Haystack, Deer Isle, Maine

    2003 |

    • Porter Colloquium on African American Art, Howard University, Washington, DC

    2002 |

    • College Art Association, Philadelphia, Pennsylvania

    1999 |

    • N. C. A. National Conference, Detroit, Michigan

    1998 |

    • Bead Society of Chicago, Chicago, Illinois
    • Mid-Year Art Conference, Detroit Public Schools, Detroit, Michigan

    1997 |

    • N. C. A. National Conference, Detroit, Michigan

    1994 |

    • N. C. A. National Conference, Detroit, Michigan
    • Fiber Now: Student Conference, Cranbrook Academy of Art, Bloomfield Hills, Michigan

Published articles | View

    • “Hair Craft Project”, Clark, Sonya, NKA Journal of Contemporary African Art (Duke Press), No. 17, November 2015, pp. 90-92
    • “The Hair Craft Project,” Clark, Sonya, ed. full color catalogue, 117 pages, 2015
    • “Sounding the Ancestors: Art, DNA and Music”, Art Practial: 6.3 Dimensions Expanded Measures of Textiles, Feb. 26 2015 ed. Douglas, Diane and Vicki Halper.
    • “Choosing Craft: A History of Artists’ Words”  ed. Douglas, Diane and Vicki Halper, University of North Carolina Press (Chapel Hill), 2009, pp 37-39
    • “Hand-me-downs: our stories held in objects, materials and processes” Haystack Monograph #17, 2004, pp. 4-8
    • “In Review: Nick Sargent”, Sonya Clark, Surface Design Journal, Vol. 28, No. 1, Fall 2003, pp. 54-55
    • “Beneath Pattern: Investigating Symmetry”, Sonya Clark, Surface Design Journal, Summer 2000
    • “Sonya Clark in Her Own Words”, Doran Ross ed., Wrapped in Pride: Ghanaian Kente and African American Identity, UCLA Fowler Museum,1998. pp. 184-185
    • “Portfolio: Sonya Clark”, American Craft, Vol. 57, No. 5, October/November 1997, p. 100
    • “Sculptural Headdresses” Sonya Clark, Ornament, Vol. 20, No. 3, Spring 1997, pp. 32-37.

Selected Reviews and Cited Works | View

Books

    • Boothe, Berrisford, Constructing Identity, Portland Art Museum 2017, p. 39
    • Lash, M. and Schoonmaker, T. ed., Southern Accent, Nasher Art Museum at Duke University, 2016, pp. 47, 48, 138
    • Garrett, Natalie E., The Artists’ and Writers’ Cookbook, Powerhouse Books, 2016, pp.90-91
    • Stein, Kurt, Hair: A Human History, Pegasus Books (London), 2016, p. 117
    • Zilber, Emily, Crafted: Objects in Flux, Museum of Fine Arts Boston, 2015 pp. 101-107
    • Bell, Nicholas, Nation Building: Craft and Contemporary Culture, 2015, pp 55-73
    • Jortveit, Anne K., The Needles Eye, Kode Art Museums Press, Norway, 2014, pp. 62-63
    • Sims, Lower and Leslie King Hammond. Global Africa Project,  Prestel, 2010, pp. 184-185, 215 and back cover
    • Jegede, Dele. Encyclopedia of African American Artists: Artists of the American Mosaic, Greenwood Press, Westport, Connecticut: 2009
    • Holt Skov,Steven and Mara Holt Skov. Manufractured: The Conspicuous Transformation of Everyday Objects, Chronicle Books, pp 9-19, 2008
    • Douglas, Diane and Vicki Halper. Choosing Craft: A History in Artists’ Words, University of North Carolina Press (Chapel Hill), 2008.
    • Drewal, Henry. Mami Wata: Arts for Water Spirits in Africa and its Diasporas, University of California Press, 2008, pp 191-193.
    • McFadden, David. Second Lives: Remixing the Ordinary, Museum of Arts and Design Press, 2008, pp. 76-79
    • Wells, Carol Wilcox, Masters: Beadweaving, Lark Books, 2008, pp 104-111.
    • Cannarella, Deborah. Beading for the Soul, Interweave Press, 2005, pp. 96-99, 146.
    • Wilcox Wells, Carol. 500 Beaded Objects, Lark Books, 2004, pp. 17, 34-35
    • Felix, Marc. Kongo Kingdom Art from Ritual to Cutting Edge, 2003, p. 327
    • Lewis, Samella. African American Art and Artists, University of California Press, 2003, p. 310-313
    • Harris, Juliette and Pamela Johnson, ed. Tenderheaded: A Collection of Hair Stories, Pocketbooks, 2001, p. 159
    • Visona, Monica Blackmun, et al. A History of Art in Africa, Abrams, 2000, p. 523
    • Orban, Nancy, ed. Fiberarts Design Book Six, Lark Books, 1999, p. 20
    • Powell, Richard. “Hampton University Museum”, To Conserve a Legacy, MIT Press, 1999, pp. 22-23
    • Campbell, Mavis. “Biographical Sketches”, Black Women of Amherst College, Amherst College Press, 1999, pp. 196-202
    • Nouvel Objet, Seoul, Korea: DesignHouse Publications, 1997, pp. 44-47

Journals and Newspapers

    • Stromberg, Matt, “Kara Walker, Karon Davis and the black female artists retelling US history”, The Guardian,  Art and Design Section, April 5, 2017
    • Neuendorf, Henri, Review: “In Los Angeles, Sprüth Magers Celebrates the Artistic Contributions of African American Women,” Artnet News,  March 31, 2017
    • Ollman, Leah, “Power: Work by African American Women’ delivers the voices of 37 artists in one fierce exhibition”, Los Angeles Times, April 11, 2017
    • Thomas, M,” Art openings at The Carnegie and Contemporary Craft”., Pittsburgh Post and Gazette, April 20, 2017
    • Puleo, Risa, “A Fanfare of Flags: Unwoven, Repurposed, Quilted, and Performed”, Hyperallergic, March 17, 2017
    • Cempellin, Leda, “Hair as Collective Identity,” Juliet (Italian), n.181, Feb- Mar 2017, p.92
    • Groetzinger, K., “Austin Businesswoman Helps Bring African American History to the Blanton,” KUT 90.5, January 2, 2017
    • Amirkhani, J., “Follicular: Hair Stories of Sonya Clark at the Taubman Museum,” Daily Serving, December13, 2017
    • Capps, K., “Baltimore Rising and the role of art in settling history,” The Atlantic: City Lab, November 22, 2016
    • Ober, C., “Black Lives Matter: Protest in Red, White, and Blue,”  Bmore, November 14, 2016
    • Allen, M., “Richmond artist’s hair stories visualize black history,” Richmond Times Dispatch,  November 13, 2016
    • Smith, T., “‘Baltimore Rising’ addresses race, rights, violence in wake of Freddie Gray,” Baltimore Sun, November 4, 2016
    • Allen, M., “Arts & Extras: Hair stories, black history at the Taubman,” Roanoke Times, October 7, 2016
    • Sargent, S., “Sonya Clark marks slavery history at Second Street Gallery,” Cville Weekly,  October 5, 2016
    • Smith, K., “Conversation with Sonya Clark who tells stories through Coiffured canvases,” ArtsAtlanta,  September 27, 2016
    • Long, L., “An interview with Sonya Clark,” The Roanoker,  September 21, 2016
    • Kuesel, C., “Southern Accent exhibit confronts the legacy of the South,” Duke Chronicle,  Wednesday , September 7, 2016
    • Galbiati, M., “Art for the Summer: Francavilla Al Mare LXVII Edition of the Michetti Prize”, Espoarte, August, 13, 2016
    • Lawton, P, “Teaching for Respect and Understanding of Difference,” Journal of Cultural Research in Art Ed, V. 33, 2016
    • Haggo, Regina, “At the Seams unravels homey images of domestic crafts,” Hamilton Spectator (Canada), July 16, 2016
    • Noor, Tausit, “Battle Hymn of the Republic: the Measure of Kehinde Wiley in the American South”, Momus, July 13, 2016
    • Delia, Sarah, “Revisiting The Work of Sonya Clark: Unraveling The Confederate Flag”, Charlotte, NC, NPR, July 4, 2016
    • Gibertini, Anna,“Sonya Clark at the Gibbes Museum makes art with human hair”, The Post and Courier, June 9, 2016
    • Benys, Laura, ed., Into Quarterly: Richmond. Summer, 2016. pp. 30, 107-109
    • Rowell, Charles, “Art and Culture in the African Diaspora”, Callalou, Vol. 38, No. 4, 2016, pp. 811-814, 904-907
    • Swinkels, Dorothe, “De kunst van het haarvlechten”, Textiel Plus (Netherlands), No. 235, Spring 2016, pp. 36-38
    • Finarelli, Linda, “Artist invites students to participate in ‘hair’ installation”, Ambler Gazette, February 26, 2016
    • Cummings, Sinead, “Hair Stories comes to Germantown Academy,”  Philly Voice, February, 10, 2016
    • Nzewi, Ugochukwu-Smooth, “Art. Race. Gender”, Art Basel Miami Beach Magazine, December 2015, pp. 140-145
    • Sharp, Sarah Rose, “Combing through the Hegemony of Hair,” Hyperallergic, December 3, 2015
    • Urist, Jacoba, “Does ‘American Art’ Exist Anymore?”  The Atlantic, November 18, 2015
    • Hinds, Julie, “Hair stories are part of multimedia artist’s exhibit,” Detroit Free Press, October 17, 2015
    • McQuaid, Cate, Art Review: “Crafted tactile sensations”, Boston Globe, Friday, September 25, 2015
    • McElhinney, Peter, Anything But Normal”, Style Weekly, Tuesday, September 22, 2015 
    • Scala, Mark, Sonya Clark and Progressive Disassembly”, Nashville Arts Magazine, August 31, 2015
    • Khvan, Olga, “Ten Can’t Miss Pieces from ‘Crafted: Objects in Flux’ at the MFA”, Boston Magazine, August 27, 2015
    • Lynne, Jessica, “From Climate Change to Race Relations, Artists Respond to Richmond, Virginia,”Hyperallergic, July 13, 2015
    • Munro, Cait, “14 of the Best Summer Gallery Groups Shows in New York”, ArtNet News, Monday, July 6, 2015
    • Gaiter, Colette, “Bree Newsome’s Confederate Flag Pole Climb Was an Artistic Statement”, Time Magazine, July 3, 2015
    • Gaiter, C. “Newsome’s Superwoman Confederate flag pole climb was an artistic statement,” The Conversation, July 1, 2015
    • The Walker Curates the News,” Art 21 Magazine, Walker Art Center, June 29, 2015
    • Miranda, Carolina, “Culture: High and Low”, Los Angeles Times, June 29, 2015
    • Canon, Gabrielle, Here’s One Confederate Flag That Shouldn’t Be Taken Down”, Mother Jones, June 27, 2015
    • Boucher, Brian, “Artist Sonya Clark Unravels the Confederate Flag-Let’s Hope It’s for Good”, ArtNet News, June 25, 2015
    • Hutson, Laura, Artist Sonya Clark Literally Deconstructs Confederate Flag ”, Nashville Scene, June 25, 2015
    • Delia, Sarah, “Unraveling: An Artist’s Take on the Confederate Flag”, WFAE Charlotte, NC, NPR, June 22, 2015
    • Frank, Priscilla, “Artist Asks How Far We’ve Really Progressed in 150 Years Since the Civil War” Huffington Post, June 2, 2015
    • Patrick, Emily, “Hairdressing as Art”, Citizen Times, March 25, 2015
    • “Amherst Creates: A Walking Gallery”, Amherst Magazine, Winter 2015, pp. 39, 42-43, and back cover.
    • Kaczmarczyk, Jeffrey, “ArtPrize $100,000 Juried Grand Prize co-winner was unaware of award, riding subway in New York: ‘It feels fantastic,'” October 11, 2014
    • Kaczmarczyk, Jeffrey, “ArtPrize 2014 $200,000 Juried Grand Prize split between 2 entries,” Grand Rapids Press MLive, October 10, 2014
    • Serba, John, “Art Prize 2014: Meet the 20 Artists in the Juror’s Shortlist,” Grand Rapids Press MLive, September 29, 2014
    • Becherer, Joseph, “Art Prize 2014 venue Review: Kendall College exhibit explores money and art,” Grand Rapids Press MLive, September 26, 2014
    • Pandolfi, Elizabeth, “Artist Sonya Clark wins Gibbes 1858 Prize,” Charleston City Paper, September 25, 2014
    • Parker, Adam, “Artist Sonya Clark named Prize Winner,” The Post and Courier, September 20, 2014
    • Prestidge, Holly, “VCU’s Clark wins Society 1858 award,” Richmond Times Dispatch, September 19, 2014, p. B8
    • Plagens, Peter, “The State of ‘State of the Art,'” Wall Street Journal, September 17, 2014
    • McWhirter, Georgina, “Building a Partnership: CODA Awards,” Interior Design, August 2014, p. 216
    • Eshleman, Tina, “Posing Beauty’ Opens at the VMFA,” Richmond Magazine, April 25, 2014
    • Eshleman, Tina, “The Art of Hair,” Richmond Magazine, March 26, 2014
    • Karen, Newton, “Head Art,” Style Magazine, March 12, 2014, pp. 23-24
    • Ashe, Bert, “Braided Together,” Style Magazine, March 12, 2014, p. 55
    • Merz, Samantha, “Essential Exhibitions,” Richmond Magazine, February 17, 2014
    • Eshleman, Tina, “Hair Apparent,” Richmond Magazine, February 3, 2014
    • Jewett, Leanne, “Rhizomatic Genesis: Art of Sonya Clark,” Fiber Art Now, Fall 2013, Volume 3 Issue 1, pp. 6, 46-48
    • Hermanson, Marissa. “Crowning Craftsmanship”, R Home, September/October 2013
    • Cheng, Scarlett. “Artist Sonya Clark weaves tales with textiles, hair at CAFAM”, Los Angeles Times, Arts/Culture section, July 7, 2013
    • Ollman, Leah. “Review: Physical, metaphorical fuse in work of Sonya Clark”, Los Angeles Times, Arts/Culture section, July 5, 2013
    • Cohn, Susan. “Local History Inspires Contemporary Art”, The Daily Journal, April 20, 2013
    • Jenkins, Mark, “Sonya Clark”, Washington Post, Museum Section, February 28, 2013
    • “Voices”, American Craft, December/January 2013. Vol. 72, No. 6, p. 24
    • Newton, Karen. “Women in the Arts 2012”, Belle Magazine, September 2012, p. 18
    • “Focus: Africa your name is Amazing”, Design 166 (Taiwan), p. 30, August 2012
    • Pulcinella, Beth. ‘Review: Magical Visions”, International Review of African American Art, Vol. 24, No. 1, 2012. p. 9
    • Cutler, Jody.  “Talking Art with Antoinette Young”, International Review of African American Art, Vol. 24. No. 1, 2012. p. 39, 41
    • Buszek, M. E. “Labor is my Medium”, Archives of American Art Journal, Spring 2012, Vol. 51, p. 70
    • Drewal, H.J. “Creating Mami Wata: An Interactive, Sensory Exhibition”, Museum Anthropology, 2012, Vol. 35. pp 49-57
    • Isaacs, J. Susan. “In Review: Sonya Clark, Snyderman Gallery”, Surface Design Journal. Spring 2012, p. 54
    • Childs, Adrienne.  Exhibition Review, Journal of Modern Craft, Vol 5. Issue 1, March 2012, pp 109-111
    • Schreiber, Barbara. “Inspired Works by S. Clark and Q. Henriquez have scholarly underpinnings” Creative Loafing, February 7, 2012
    • Weaver, AM. Review: “Sonya Clark”, Art in America, January 30, 2012
    • Persinger, Ryanne. “From Lincoln to Obama, images will ‘Converge'”, The Charlotte Post, January 26, 2012
    • Robinson, Mark. “National Grant Winner Hopes to Enrich Richmond Arts Community,” Commonwealth Times, January 23, 2012
    • Bennett, Steve.  “Clark Weaves History and Culture,” San Antonia Express News, January 20, 2012
    • Andrews, Scott. “Clark Weaves African-American DNA into Confederate Flag”, Current (San Antonio, TX), January 12, 2012
    • Prestige, Holly. “VCU Artist is awarded no strings $50,000 grant”, Richmond Times Dispatch, December 6, 2o11, front page
    • “VCU Professor named USA Fellow”, The Richmond Voice, December 14, 2011, p. 10
    • Hirsh, Jennie.  Review: “Material Girls”, Art in America, November 2011
    • Byrd, Cathy. Review: “Material Girls”,  Sculpture, November 2011, Vol 30. No. 9, pp. 64-65
    • Schiller, Rebecca. “A Strand of Hair”,  Hand Eye, November 10, 2011
    • Amey, Suzanne Smith. “In Review”,  Surface Design Journal, Fall 2011, p. 54
    • Choi, Sukjin. “Virginia Museum of Fine Arts Fellowship,” Korean Monthly Ceramic Art, Vol 16, No 187, October 2011, p 90-92
    • James Renwick Alliance Quarterly, Winter/Spring 2011, p 4
    • DeSmith, Christy. “Data Processing”, American Craft, Vol. 70, No.6 Dec/Jan 2011, pp. 24
    • Jamieson, Katherine. “Cultural Roots”, Amherst, Fall 2010, pp. 44
    • Malarcher, Patricia. “In Review: Dress Codes”.  Surface. Spring 2010, Vol. 34, No. 3, pp. 62-63.
    • “Black Celebration”, Estetica Italia, November 2009, Volume 9, pp. 42 – 43
    • Genocchio, Benjamin, “All Dressed Up at the Katonah Museum of Art”, New York Times, August 21, 2009
    • Gouveia, Georgette, “Clothes make the exhibit”, Lower Hudson Journal News, July 19, 2009
    • Sims, Lowery Stokes, “The Currency of Craft: Sonya Clark”, Fiberarts, September/October 2009, Vol. 36, No. 2, pp. 40-43
    • “Upcycling/ Signs of new life at Architecture and Design Museum”, Los Angeles Times, Arts section, May 17, 2009
    • Dowdle, Morrow, “The Halsey Institute explores the question of hair”, Charleston City Paper, May 20, 2009
    • “Crowning Glory in Hair and Art”, The Post and Courier, Wednesday, May 27, 2009
    • http://www.marieclaire.it/magazine/controcorrente/second-lives
    • Cotter, Holland, “From the Deep, a Diva With Many Faces”, New York Times, April 3, 2009, p. C23
    • Kettlewell, Caroline, “Urban Palette”, Virginia Living, April 2009, p. 109.
    • Yuhas, Daisy, “Sonya Clark at the List Gallery”, The Daily Gazette, March 15, 2009
    • Donohue, Victoria, “Better Combs and Gardens”, Philadelphia Inquirer, March 20, 2009
    • Ha, Christina, “Sunday Arts News Essentials”, Inside Thirteen PBS NYC, October 16, 2008
    • “Spotlight: Museums Update:, American Style, February 2009
    • Russian Travel Magazine, November 24, 2008, p. 72
    • Klimkiewicz, Joann, “ MAD’s New Digs”, The Hartford Courant, September 28, 2008
    • Caplan, Ralph, “Recrafting the Ordinairy”, AIGA: Voice, October 14, 2008
    • Saltz, Jerry, “Art Date”, Artnet Magazine, September 18, 2008
    • Holleran, Samuel, “A Second Life for MAD”, NY Art Beat, September 29, 2008
    • “Arts and Crafts”, Travel and Leisure Magazine, December 2008, p. 80
    • DiNoto, Andrea, “Reviewed: Second Lives”, American Craft Magazine, Vol. 68, No.6 Dec/Jan 2009, p. 42
    • Austin, April, “Co-opting consumerism ‘Manufractured’ exhibition takes mass-produced objects and tames them into art”, The Christian Science Monitor, September 19, 2008 edition
    • Andresen, Kristin, “Community Centered”, Bangor Daily News, Tuesday, December 4, 2007, p. C5
    • “Current and Coming”, Fiberarts, Sept/Oct 2008, p 68
    • Pomeroy, Courtney, “Art that lets your hair down”, Baltimore Sun, June 28, 2008
    • Yasiejko, C., “A Well-Groomed Exhibit and More at DCCA”, The News Journal (Wilmington, Delaware), Arts section F2
    • Thorp, Charlotte, “In Review: Pricked”, Surface Design Journal, Vol. 32, No.4, Summer 2008, p. 39
    • Beckman, Rachel, “In ‘Loose Strands,’ The Ties That Bind Museum Lets Its Hair Down With New Show” Washington Post
    • McLeod, Deborah. “Witting Hairs: Sonya Clark”, City Paper Baltimore, July 30, 2008
    • Moreno, Shonquis, “Making of the New MADhouse”, American Craft Magazine,Vol. 68, No.4 Aug/Sept 2008, p. 37
    • DiNoto, Andrea, “Reviewed: Pricked”, American Craft Magazine, Vol. 68, No.1 Feb/Mar 2008, pp 88-89
    • Koeppel, Frederic. “Amusement within their grasp,” Commercial Appeal, 2008
    • Nouvelles broderies a New York, Le Monde, November 20 2007, p 29
    • Vagner, Kris. “Belt loops and hooks” Reno News Review, September , 19, 2007
    • Architectural Digest (French edition), February/March issue, No.72
    • “Internationally acclaimed artist opens solo show at JMKAC” Beacon, Tuesday, October 31, 2006. pp1 and 17
    • Andrews, Laura. “ African Bead Project at Queens Library”, Caribbean Life, May 9, 2007, p. 46
    • O’Sullivan, Michael. “Richmond Artists Rooted in Histories”, The Washington Post, Friday, December 1, 2006, WE p 50
    • Nilsen, Richard. Review: “ Gallery has a lock on impact of hair”, The Arizona Republic, Sunday, July 30, 2006 , pE4
    • Becker, Cynthia. “Review: Beaded Prayers” African Arts, Summer 2006, Vol 39. No. 2, p9.76-78
    • Rockwell, Steve, “ A Stir in Richmond, Virginia”, d’Art International, Spring/Summer 2006, p. 20
    • Hickman, Pat. “Awarding Talent”, American Craft, Vol. 65, No. 2 April/May 2005 p. 48
    • Halper, Vicki. “Trinket to Talisman”, Metalsmith, Volume 24, No. 5, p. 37
    • Guiliano, Mike. “ Taking a bead on the spirit of art”, Towson Times, January 21, 2004. p. 28
    • “Scholars in the Village”, UMOJA: African American News for Madison, Vol. 14, No. 1, January 2004, p. 17, 48
    • Hicks, Victoria Loe. “The Power of Many Prayers, All in One Art Project”, Philadelphia Inquirer, Sunday, Oct. 12, 2003
    • Hicks, Victoria Loe. “Professor Seeks Secret Prayers for Touring Show”, Dallas Morning News, September 19, 2003
    • Arney, Steve. “Designers Draw a Bead” Pantagraph, Sunday , September 14, 2003, pp. G1-2
    • Hinchliffe, Meredith. “Moulding the metaphor”, Canberra Times (Australia), Tuesday, July 22,2003
    • Malarcher, Patricia. “Beaded Prayers Project”. Surface. Spring 2003, Vol. 27, No. 3, pp.30-35
    • Roberston, Jean. “Indianapolis: Sonya Y.S. Clark”. Sculpture. December 2002 Vol. 21, No.10, pp. 71-72
    • Berry, S. L. “Topped By Art”, The Indianapolis Star, Sunday, April 14, 2002. pp 1I-2I
    • Carr-Elsing, Debra. “A Fine Touch for Art”, The Capital Times, Sunday , February 28, 2002. 1F-5F
    • McNatt, Glenn. “A Good Feeling”, The Baltimore Sun, Wednesday, November 13, 2001, p. 1E
    • Theim, Kelly. “Alumni Art on Deck at Mead”, The Amherst Student, October 3, 2001, p. 9
    • Holland, Bonnie Lee. “In Review: Crosscurrents 2000”, Surface Design Journal. Fall 2001, pp. 54-55
    • Price, Anne. “Shoebox’s Limits Inspire Creativity”, Sunday Magazine (Baton Rouge, Louisiana) August 5, 2001
    • Moyer, Twylene. “Handle with Care: Loose Threads in Fiber”, Sculpture, June 2001 Vol. 20, No. 5, pp. 69-70
    • Goldberg, Barbara. “Lillian Elliott Award”, Textile Society of America Newsletter, Winter 2001, Vol. 13, No. 1, p. 7
    • Roth, Gil. “Beaded Prayers Project: Beneath a Collective Quilt”, Madison Times, October 12-18, 2001, p. 12
    • Shapiro, Stephanie. “Art Emerges From Tragedy, As It Should”, The Baltimore Sun, Monday, September 17, 2001, p. 1E
    • Pulliam, Deborah. “Beaded Blessings”, Beadwork, August/September 2001, pp. 16-17
    • Tyehimba, Afefe. “Critic’s Choice: Beaded Prayers”, City Paper (Baltimore, Maryland), August 8-15, 2001, Vol. 25, No. 33
    • Swanson, Sue. “Beaded Blessings”, Re-Imagining, May 2001, Issue 27, p. 5
    • Dahlke, Kate. “Cross-Cultural Project is Woven of Hopes and Dreams”, Monday, March 12, 2001, p. A8
    • “Celebrating Black History in the Village”, Umoja, March 2001, p. 42
    • “Hats Off”, Umoja, February 2001, pp. 11 and 41
    • Henry, Amanda. “A Stitch in Time”, Wisconsin State Journal, Saturday, November 18, 2000, p. B1
    • Gates, Pamela. “Beading Beyond Belief”, The Madison Times, May 5-11, 2000, Vol. 9, No.19, p. 17
    • Daily Citizen (Beaver Dam, Wisconsin), Wednesday, March 29, 2000, p. 16
    • Veit, Lori. ” Wisconsin Arts Board Fellowship Award-Winners Exhibit” Fitchburg Star, October 19, 2000, pp. 12-13
    • “Artists in Craft Center Exhibition Focus on Women’s Issues”, Weekend, August 25-31, 2000
    • Bowles, K. Johnson. “The Hum of Life in Silence”, Fiberarts, September/October 2000, Vol. 27, No. 2, p. 59
    • Ullrich, Polly. “Fashions from the Avant-Garb”, Fiberarts, Summer 2000, Vol. 27, No. 1, p. 55
    • Wass, Betty. “Dots and Dashes, Beads and Beauty”, Textile Society of America Newsletter, Vol. 12, No. 1, pp. 9-10
    • “Previews”, The Detroit News, May 27, 2000
    • Latter, Ruth. “Hats off to Impressive Soft Sculptures”, The Daily Progress (Charlottesville, Virginia), May 4, 2000, p. D1-2
    • “Smart Bets”, Mountain Xpress (Western North Carolina), May 31 – June 6, 2000, Vol. 6, No. 42, p. 30
    • Clowes, Jody. “Sonya Clark”, Surface Design Journal, Winter 2000, pp. 35-37
    • Harrison, Helen. “Using Beads as Painters and Sculptors Would”, The New York Times, Sunday, December 19, 1999, p. 20
    • Klich, Joseph. “Artist Draws on Culture in Crafts”, The Badger Herald, October 27, 1999, Vol. 31, Issue 39, pp. 1 and 5
    • McNatt, Glenn. “Art Challenges Stereotypes”, The Baltimore Sun, Tuesday, October 26, 1999, p. 2E
    • Korman, Nina. “Night and Day”, Miami New Times, July 1-7, 1999, Vol. 14, No. 12, pp. 38-39
    • Miller, Brooke. “Artist’s Headdresses Draw Upon African Heritage and Pride”, The Madison Times, March 5-11, 1999, p.13
    • Gordon, Beverly. “Profile: Sonya Clark”, Fiberarts, Vol. 25, No. 4. Jan/Feb, 1999, p. 23
    • Kirsch, Elisabeth. “Artists Winning the Glass Bead Game”, Kansas City Star, Friday, December 25, 1998, Preview/Art
    • Harris, Bill. “Lid Language”, Metro Times, November 1998
    • Francis, Jacqueline. “Art About Hair” International Review of African American Art, Vol.15, No.2, Fall 1998, pp. 37-38
    • Schoenkopf, Rebecca. “Pure Mesmerization”, OC Weekly, August 14-20, 1998, p. 47
    • Wilson, Scott. “Parted, Plaited and Piled: Sonya Clark”, FORUM: The Visual Arts Journal, Vol. 23, No. 2, pp. 3-4
    • Thorson, Alice. “Surface Pleasures”, The Kansas City Star, Friday, March 27, 1998, Art Section, p. 24
    • “Kansas City and Lawrence, A Survey of Exhibitions”, Surface Design Journal, Vol. 22, No. 2, Winter 1998, pp. 46-47
    • “Village Stars”, UMOJA: African American News for Madison, Vol. 9, No. 1, January 1998, p. 14
    • Broughton, Alice. “New Directions in Fiber”, Reviews and News
    • Muney Moore, Julie. “Crosscurrents: Journeys Within the African Diaspora”, Dialogue, September/October 1997, p. 41
    • Thorson, Alice. “Patterns, Prints, Fabrications”, The Kansas City Star, Friday, May 30, 1997, Preview, p. 23
    • Gaskins, Bill. “Review: Sonya Clark at the Anderson Gallery”, New Art Examiner, Vol. 24, No. 6, March 1997, p. 46
    • Irish, Peg. “Exhibition: Cape Capes”, Ornament, Vol. 20, No. 2, Winter 1996, p. 21
    • Colby, Joy Hakanson. “Art Review: Sonya Clark Sculptural Headdresses”, The Detroit News, November 14, 1996, p. 7H
    • Scarborough, Jessica. “Survey of Exhibitions”, Surface Design Journal, Vol. 20, No. 2, pp. 27-29
    • Colby, Joy Hakanson. “High Fiber”, The Detroit News, Saturday, March 2, 1996, pp. 16-18D
    • Mensing, Margo. “Student Symposium at Cranbrook”, Fiberarts, Vol. 21, No. 2, September/October 1994. p. 12

Public Collections | View

    • Arizona State University, Tempe, Arizona
    • Cranbrook Art Museum, Bloomfield Hills, Michigan
    • Hampton Museum, Hampton, Virginia
    • Helen Louise Allen Textile Collection, Madison, Wisconsin
    • Indianapolis Museum of Art, Indianapolis, Indiana
    • Madison Museum of Contemporary Art, Madison, Wisconsin
    • Mead Art Museum, Amherst, Massachusetts
    • Montreal Museum of Decorative Arts, Montreal, Quebec, Canada
    • Musees d’Angers, Angers, France
    • Sprint Collection, Overland Park, Kansas
    • University of Iowa Museum of Art, Iowa City, Iowa

Curatorial Projects | View

    2011 |

    • Tacit: Recent regional alumni from VCU Crafts, Visual Art Center of Richmond

    2008 |

    • Familiar Faces, Anderson Gallery, Virginia Commonwealth University, Richmond, VirginiaDevorah Sperber, Kim Kamens, Xiang Yang, Lia Cook, Na-Jung Kim

    2007 |

    • Hush Lush, Piedmont Center for the Arts, Martinsville, VirginiaJack Wax, Debbie Quick, Susie Ganch, Xenobia Bailey, Susie Brandt, Bean FinneranXenobia Bailey, Natasha St. Michael, Michal Zehavi, Nancy Koenigsberg , Kyoung Ae ChoRachel Hayes, Piper Shepard

    2004 |

    • Repeat, Repeat, Design Gallery, University of Wisconsin, Co-curator: Jennifer Angus)Jerry Bleem, Susie Brandt, Kyoung Ae , Cho and Piper Shepard

    2000 |

    • Joyful Blues: Pattern in Yoruba Adire Cloth (Photography curator), Gallery of Design, School of Human Ecology

Memberships and Committees | View

    • Advisory Board, Textile Museum, Washington, DC (2010 – 2013)
    • Advisory Board, VMFA, Friends of African and African American Art (2010 – 2013)
    • North Carolina Arts Council, Juror FY 2010 Artist Fellowship Program (2010)
    • Ohio Art Council, Juror FY 2005 Artist Fellowship Program (2004)
    • Illinois Arts Council, Juror FY 2001 Artists Fellowship Program (2000)
    • Dane County Cultural Affairs Commission- Arts Grant Advisory Panel (2000)
    • Wisconsin Arts Board Percent for Art Selection Committee (1998 – 2000)
    • Board Member, Madison Museum of Contemporary Art (2000 – 2003)
    • Board Member, Haystack Mountain School of Crafts (2000 – 2009)

Professional Positions | View

    • 2018 Acuff Visiting Professor, Austin Peay State University, Clarksville, Tennessee
    • 2017 – 2018 Visiting Artist in Residence, Amherst College, Amherst, Massachusetts
    • 2006 – 2017 Professor and Chair, Craft/Material Studies, VCU School of the Arts, Richmond, Virginia
    • 2004 – 2006 Baldwin Bascom Professor of Creative Arts, University of Wisconsin-Madison
    • 2002 – 2005 Associate Professor, Design Studies, University of Wisconsin-Madison
    • 1997 – 2002 Assistant Professor, Design Studies, University of Wisconsin-Madison
    • 1996 – 1997 Visiting Instructor, Kansas City Art Institute, Kansas City, Missouri
    • 1996 Adjunct Faculty, Tyler School of Art, Temple University, Philadelphia, Pennsylvania
    • 1996 Adjunct Faculty, Maryland Institute, College of Art, Baltimore, Maryland

“Clark’s artistry, like a rhizome, emphasizes multiplicity and the connectivity of intrinsic form and substance to resonant histories…”

—Julie McGee
Curator, University of Delaware Musuems