Rashid Johnson

He included a late 1960s dashiki worn by Jesse Jackson, a 1980s running suit worn by Al Sharpton in the '80s and a business suit worn by then United States Senator-elect Barack Obama.

The presentation, which invited inspection, was as likely to evoke humorous response to the Jackson dashiki as well as critical commentary about the presentation of political attire.

Rashid Johnson (born 1977) is an American artist who produces conceptual post-black art.

The curator of the show, Thelma Golden, is credited with coining the term "post-black art" in relation to that exhibit, although some suggest the term is attributable to the 1995 book The End of Blackness by Debra Dickerson, who is a favorite of Johnson's. The term post-black now refers to art in which race and racism are prominent, but where the importance of the interaction of the two is diminished.

Johnson's most controversial exhibition was entitled Chickenbones and Watermelon Seeds: The African American Experience as Abstract Art.

The subject matter was a series of stereotypical African-American food culture items such as watermelon seeds, black-eyed peas, chicken bones, and cotton seeds placed directly onto photographic paper and exposed to light using an iron-reactive process.

He also exhibited his homeless men work, including George (1999), in Atlanta, Georgia as part of the National Black Arts Festival at City Gallery East in July and August 2002.

A photography major, he earned a 2000 Bachelor of Fine Arts from Columbia College Chicago and a 2005 Master of Fine Arts from the School of the Art Institute of Chicago.

While at the School of the Art Institute of Chicago, one of his mentors was Gregg Bordowitz.

Johnson followed a generation of black artists who focused on the "black experience" and grew up in a generation that was influenced by hip hop and Black Entertainment Television.

Because of his generation's high exposure to black culture within pop culture, his contemporary audiences have a greater understanding of the "black experience," which has enabled him to achieve a deeper race and identity interaction.

His work has been exhibited at the Art Institute of Chicago; the Whitney Museum of American Art, New York; the Metropolitan Museum of Art, New York; the Detroit Institute of Arts; the Walker Art Center, Minneapolis; the Corcoran Museum of Art, Washington, DC; the Institute of Contemporary Photography, New York; the Brooklyn Museum of Art, New York; and the Museum of Contemporary Art, Chicago.

As a college junior, he opened his first show at the Schneider Gallery.

By 2000, he had earned a reputation for his unique photo-printing process and political content.

Johnson first received critical attention in 2001 at the age of 24, when his work was included in Freestyle (2001) curated by Thelma Golden at the Studio Museum in Harlem.

He studied at Columbia College Chicago and the School of the Art Institute of Chicago and his work has been exhibited around the world.

Johnson is known for several bodies of work in different media, including photographic works; airbrush paintings on mirrored tile; his "Bruise Paintings" and "Surrender Paintings" series,.

In addition to photography, Johnson makes audio installations, video, and sculpture.

Johnson is known for both his unusual artistic productions and for his process of combining various aspects of science with black history.

Johnson was born in Illinois to an academic and scholar mother, Cheryl Johnson-Odim,

and a Vietnam-war veteran father, Jimmy Johnson, who was an artist but worked in electronics.

His parents divorced when he was 2 years old and his mother remarried a man of Nigerian descent.

Johnson has stated that growing up his family was based in afrocentrism and that his family celebrated Kwanzaa.

Johnson was raised in the Wicker Park neighborhood of Chicago, Illinois and Evanston, Illinois, a suburb.

The Freestyle exhibition at the Studio Museum in 2001 is credited with launching Johnson's career.

In 2002, he exhibited at the Sunrise Museum in Charleston, West Virginia.

The exhibit, entitled Manumission Papers, was named for the papers that freed slaves were required to keep to prove their freedom.

The exhibition was described as being as much a cultural commentary as an imagery display, and it related to the previous "Chickenbones" exhibit.

He geometrically arranged abstractions of feet, hands, and elbows in shapes such as cubes, church windows and ships.

This was a considered as study in racial identity because the body parts were not identifiable.

Also in 2002, presenting his photographic work using chicken bones, Johnson exhibited at the Museum of Contemporary Art, Chicago, as part of the UBS 12 x 12: New Artists, New Work series.

In 2002 he exhibited his homeless men in the Diggs Gallery of Winston-Salem State University.

The exhibit was entitled Seeing in the Dark and used partially illuminated subjects against deep black backgrounds.

He took part in the Chicago Department of Cultural Affairs artist Open Studio Program rotation in the Chicago Landmark/National Register of Historic Places Page Brothers Building during the summer of 2003 with a three-week exhibition.

He explored the "historical and contemporary nature of photography".

At that time, he was represented by George N'Namdi, who owned G.R. N'Namdi, the oldest African-American-owned, exhibiting commercial gallery in the country.

George was part of the Corcoran Gallery of Art November 2004 – January 2005 Common Ground: Discovering Community in 150 Years of Art, Selections From the Collection of Julia J. Norrell exhibition.

In conjunction with the Renaissance Society at the University of Chicago, Rashid Johnson exhibited The Evolution of the Negro Political Costume in December 2004.

He presented replicas of three outfits worn by African-American politicians.

George and the Common Ground exhibition appeared in several other places including the North Carolina Museum of Art in 2006.