Once again, The Phillips Collection has assembled an exhibition that fills audiences’ eyes, mind, and soul with color, images and knowledge and takes them to another world. “Multiplicity: Blackness in Contemporary American Collage” displays the collage art from 49 Black artists. This is the first major museum exhibition dedicated to contemporary collage reflecting the breadth and complexity of Black identity and experiences in the United States. The exhibition is on view until Sept. 22.

The Phillips Collection’s Vradenburg Director and CEO Jonathan P. Binstock spoke about the objective of “Multiplicity” during a recent opening event.

“The diverse intergenerational group of artists has created innovative works in various materials,” said Binstock. “The experimental techniques offer pointed expressions of human experience including fragmentation, construction, shared history, cultural hybridity, gender fluidity, and notions of being.” 

Some may think of Phillips as a small museum, but in terms of its offerings, it is not. Occupying multiple rooms inside two buildings, “Multiplicity” is huge. Mounting the exhibition is a testament to the teamwork and collaboration between Katie Delmez, Senior Curator at the Frist Art Museum in Nashville, Tennessee, and Adrienne L. Childs, Senior Consulting Curator and coordinating curator at Phillips.

Displaying Collages Galore!

Some of the 49 artists who have contributed nearly 60 collages are featured artists ranging from established luminaries to emerging and mid-career figures. Included are Mark Bradford, Lauren Halsey, Rashid Johnson, Kerry James Marshall, Wangechi Mutu, Jamea Richmond-Edwards, Deborah Roberts, Tschabalala Self, Lorna Simpson, Devan Shimoyama, Mickalene Thomas, and Kara Walker. Some artists whose work is on display have a history with the Phillips, including Zoë Charlton, Sanford Biggers, McArthur Binion, and Radcliffe Bailey.

Because mounting this exhibition was a big undertaking, how were decisions made on the approach and what works to present? Delmez explained working through the process. 

“Some artists work in very straightforward collage-making modes, so that was a no-brainer,” Delmez said. “It was also interesting to think about artists that I had not initially thought of their technique as being a collage.”

A Small Sample of ‘Multiplicity

Delmez’s thinking reflects what is seen when strolling through “Multiplicity.” I was taken back to grade school collage-making when children would bring magazines to tear up to create art. I thought about that process when I saw “Jet Auto Archive,” a collage from Houston, Texas-based Jamal Cyrus. Looking at Cyrus’ art that was way beyond grade school arts and crafts made me laugh, but at least I knew what I was looking at. 

“The Healing: Untitled 1, 2, and 3” by M. Florine Démosthène is another eye-catching collage with a captivating story. The artist was raised primarily in Haiti. Based on cultural beliefs, her collage was about bringing negative spirits out of the body. It is a striking progression of healing, which is why this collage is in a number order.

Seeing “Multiplicity: Blackness in Contemporary American Collage” is a must. Expect to make several visits, as there is a lot to see. Plus, visitors will walk through multiple rooms on several floors. 

“Multiplicity” also includes additional educational programs, many free after paying to enter the Phillips. Visit the Phillips website, phillipscollection.org, to see the days and hours the museum is open and the costs to enter. The museum is closed on Mondays. and is open Tuesday through Sunday, 10:00 a.m. to 5:00 p.m. On the third Thursday of each month, The Phillips Collection offers free extended hours from 5–8 pm for guests to explore the galleries. The museum offers Pay-What-You-Wish admission from 4:00 p.m. until closing every day it is open.

More Multiplicity at THEARC

A bonus associated with “Multiplicity: Blackness in Contemporary American Collage” is the exhibition “Home Coming / Home Going” by Zsudayka Nzinga, from Aurora, Colorado, now living in the Deanwood area of D.C.

Nzinga’s exhibit space at THEARC is true to its title. Visitors are welcomed into a home living room, an important place in Black culture. 

“It is important to contemplate Black fine art in Black interior spaces. It makes us think about collecting art,” said Nzinga. “We have a long legacy of collecting art that is cultural for us. That is not necessarily touted as the same as collecting contemporary art or going to an auction, but it is definitely ingrained in us.”

(In white print dress) Zsudayka Nzinga, a multidisciplinary artist, curator, and educator, discusses her collage “Home Coming / Home Going” currently on view at the Phillips at THEARC as a part of The Phillips Collection exhibition “Multiplicity: Blackness in Contemporary American Collage.” (Robert R. Roberts/The Washington Informer)
(In white print dress) Zsudayka Nzinga, a multidisciplinary artist, curator, and educator, discusses her collage “Home Coming / Home Going” currently on view at the Phillips at THEARC as a part of The Phillips Collection exhibition “Multiplicity: Blackness in Contemporary American Collage.” (Robert R. Roberts/The Washington Informer)

Seven collage wall art is within Nzinga’s exhibition area at THEARC. Visitors will love spending time in this space to see how fabrics are used to cover furniture. This interior design space includes a record player and album covers, giving the feeling of a real home.

“Home Coming / Home Going” is on view until Sept. 26. Phillips@THEARC is at 1801 Mississippi Avenue SE, Washington, D.C. This exhibition is open on  Wednesday & Thursday, 10 a.m.-5: p.m.. There is no entry fee or reservation required.

Brenda Siler is an award-winning journalist and public relations strategist. Her communications career began in college as an advertising copywriter, a news reporter, public affairs producer/host and a...

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