Sonya Clark

Lives and works in Richmond, VA

Education

  • 1995    MFA, Cranbrook Academy of Art, Bloomfield Hills, Michigan
  • 1993    BFA, School of the Art Institute of Chicago, Chicago, Illinois        
  • 1989    BA, Amherst College, Amherst, Massachusetts

Selected One and Two Person Exhibitions

  • 2012    Sonya Clark and Quisqueya Henriques, McColl Art Center, Charlotte, North Carolina
  • Sonya Clark, Russell Hill Rogers Gallery, Southwest School of Art, San Antonio, Texas
  • 2011    Sonya Clark, 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    Plexus, Birke 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 (Bolaji Campbell and Sonya Clark) (catalog), Wisconsin Union Gallery, Madison, Wisconsin
  • 1999    Prepositions, Galerie Francoise, e.s.f., Brooklandville, Maryland
  • 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 Within, N. C. A. Gallery, Fisher Building, Detroit, Michigan
  • Sonya Clark and Carole Harris, Anderson Gallery, Pontiac, Michigan

Selected Group Exhibitions

  • 2012    NEXT: Artists selected from 30 Americans (catalog), Contemporary Wing, Washington, DC
  • Art of Seduction, Rouse Gallery Howard County Community College, Columbia, Maryland
  • In Material, Arthur Ross Gallery, University of Pennsylvania, Philadelphia, Pennsylvania
  • 8th Fiber Biennial, Snyderman Works Gallery, Philadelphia, Pennsylvania
  • Magical Visions, University of Delaware, Newark, Delaware
  • DUBH: dialogues in black, American Irish Historical Society, New York, New York andOliver Sears Gallery, Dublin, Ireland
  • SOFA Chicago, Navy Pier, Chicago, Illinois (Snyderman Gallery)
  • Identify Yourself, Craft Alliance, St. Louis, Missouri
  • Material Girls, Reginald Lewis Museum, Baltimore, Maryland
  • 2010    Global Africa (travels through 2013), Museum of Arts and Design, New York, New York and High Museum, Atlanta, Georgia
  • 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, Milwaukee Art Museum, Milwaukee, Wisconsin, Asheville Art Museum, Asheville, North Carolina and Arkansas Art Center, Little Rock, Arkansas
  • 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
  • Black, DCAC, 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 2013), Stedman Gallery, Rutgers University, Camden, New Jersey, Center for the Arts Gallery, Towson University, Towson, Maryland, Lore Degenstein Gallery, Susquehanna University, Selinsgrove, Pennsylvania, Robeson Gallery, Penn State University, University Park, Pennsylvania, Fisher Gallery, University of Southern California, Los Angeles, California, Carleton College, Northfield, Minnesota
  • 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, England, Dovecot Studios, Edinburgh, Scotland, Harley Gallery, Worksop, England, Millennium Court Arts Centre, Portadown, Ireland, University of Hertfordshire Galleries, Hatfield, England, Plymouth City Museum and Art Gallery, Plymouth, England, Platform Gallery, Clitheroe, England    
  • 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, California, Chazen Museum, Madison, Wisconsin, National Museum of African Art, Washington, DC, Cantor 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, Memphis, 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, Reno, Nevada
  • Hot House, Cranbrook Museum of Art, Bloomfield Hills, Michigan and Reading 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, Wisconsin, River Arts Center, Sauk City, Wisconsin, Colucci 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
  • 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, Braziland Museu de Arte de Brasilia, Brazil
  • 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, Chicago Cultural Center, Illinois, Clark Atlanta University Art Gallery, Georgia, Museum of the African Diaspora, San Francisco, California, Contemporary Arts Center, New Orleans, Louisiana, Forty 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, Mitchell Museum, Mount Vernon, Illinois, Pratt Museum, Homer, Alaska, University of Alaska Museum, Fairbanks, Alaska, York County Museum, Rock Hill, South Carolina, Holland Arts Council, Holland, Michigan, Museum 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, Kukui Grove Center Exhibition Hall, Lilue, Hawaii, Harrison Museum of Art, Logan, Utah, American Cultural Center, Taipei, Taiwan, National Cheng Kung University, Tainan, Taiwan, Providence University,  Taichung, Taiwan, University of Arkansas, Little Rock, Arkansas, Wright State University, Dayton, Ohio, Murray State University, Murray, Kentucky, Art Center at Hargate, St. Paul’s School, Concord, New Hampshire, East Hawaii Cultural Center, Hilo, Hawaii, Maui 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, The Oakland Museum, Oakland, California, Field Museum of Natural History, Chicago, Illinois, St. Louis Art Museum, St. Louis, Missouri, Anchorage Museum of History and Art, Anchorage, Alaska, Carlos Museum, Emory University, Atlanta, Georgia, Detroit Museum of African American History, Detroit, Michigan, Smithsonian Institution: National Museum of African Art, Washington, D.C., UCLA Fowler Museum, Los Angeles, California         
  • 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, Fuller Museum of Art, Brockton, Massachusetts, Lowe Museum, Coral Gables, Florida, Lamont Gallery, Exeter, New Hampshire, Philbrook Museum, Tulsa, Oklahoma, Leedy Voulkos Art Center, Kansas City, Missouri, Islip Art Museum, East Islip, New York, Museum of Art and History, Santa Cruz, California, Decorative Arts Museum: Arkansas Art Center, Little Rock, Arkansas, Boise Art Museum, Boise, Idaho, Pensacola 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, 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 Art, Navy Pier, Representation: Anderson Gallery, Chicago, Illinois
  • 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 and Museum of the Southwest, Midland, Texas
  • NIFTA (New Initiatives for the Arts) Ten Year Anniversary Exhibition, Besser Museum, Alpena, Michigan, Northern Michigan University Art Museum, Marquette, Michigan, Saginaw Art Museum, Saginaw, Michigan, Museum 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, Museum of African American History, Detroit, Michigan, Jesse Besser Museum, Alpena, Michigan, Northwood 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: Anderson Gallery, VCU Arts, Richmond, Virginia, 2009, University of Nebraska, Lincoln, Nebraska, 2008, Newark Museum of Art, Newark, New Jersey, 2008, Icebox, Philadelphia, Pennsylvania, 2008, Haystack Community Center, Deer Isle, Maine, 2007, Purdue University Galleries, West Lafayette, Indiana, 2007, Manchester Craftsmen’s Guild, Pittsburgh, Pennsylvania, 2007, Queens Borough Public Library, Jamaica, New York, 2007, Museum of the African Diaspora, San Francisco, California, 2006, King Arts Complex, Columbus, Ohio, 2006, Museum of the National Center of Afro-American Artists, Boston, Massachusetts, 2005, NCA Gallery, Detroit, Michigan, 2005, Association of the Worldwide Study of the African Diaspora Conference, Rio de Janeiro, Brazil, 2005, Florida A &M University, Tallahassee, Florida, 2005, Silver Cultural Arts Center, Plymouth, New Hampshire, 2004, River Arts Center, Sauk City, Wisconsin, 2004, Montreal Arts Interculturels, Montreal, Canada, 2004, Baltimore Museum of Art, Baltimore, Maryland, 2003, Art Gallery, Berea College, Berea, Kentucky, 2003, McLean Arts Center, Bloomington, Illinois, 2003, St. Thomas University, St. Paul, Minnesota, 2002, American Library Association Conference, Atlanta, Georgia, 2002, McDonogh School, Owings Mills, Maryland, 2002, College of Art at Kwame Nkrumah University, Kumasi, Ghana, 2002, Creative Alliance, Baltimore, Maryland, 2001, Madison Municipal Building Gallery, Madison, Wisconsin, 2001, Seippel Center for the Arts, Beaver Dam, Wisconsin, 2001, Gallery of Design, University of Wisconsin, Madison, Wisconsin, 2000, Canberra School of Art, Australian National University, Canberra, Australia, 2000
  • Selected Beaded Prayers Project Lectures and Workshops: Wellesley College, Wellesley, Massachusetts, 2005, Transylvania University, Lexington, Kentucky, 2003, Milwaukee Area Technical College. Milwaukee, Wisconsin, 2003, Sheridan Global Middle School, St. Paul, Minnesota, 2002, Minneapolis Institute of Art, Minneapolis, Minnesota, 2002, Baltimore Museum of Art, Baltimore, Maryland, 2002, 2003, 2004, Waverly Center for Teen Parents, Baltimore, Maryland, 2002, Columbia College, Art Department, Chicago, Illinois, 2002, Boys and Girls Club, Madison, Wisconsin, 2002, St. Paul’s Schools, Brooklandville, Maryland, 2002, 2001, College Art Association, Philadelphia, Pennsylvania, 2002, International Creators: 13th Annual Series, Harbourfront Center, Toronto, Canada, 2001, Textile Program, Sheridan College, Oakville, Canada, 2001, Detroit Institute of Art, Detroit, Michigan, 2001, Packer Collegiate, Brooklyn, New York, 2001, City of Madison Minority Affairs Committee, Madison, Wisconsin, 2001, Vera Court Girl Neighborhood Power, Madison, Wisconsin, 2001, African American Ethnic Academy, Madison, Wisconsin, 2001, Wilson School, Mequon, Wisconsin, 2001, artWORKS Afterschool Program, Packer Community Center, Madison, Wisconsin, 2001, Upward Bound, Beloit College, Beloit, Wisconsin, 2001, Fiber Program, Maryland Institute College of Art, Baltimore, Maryland, 2001, Seippel Center for the Arts, Beaver Dam, Wisconsin, 2001, Coolidge Elementary School, Detroit, Michigan, 2001, Jefferson School, Beaver Dam, Wisconsin, 2001, Penland School of Craft, Penland, North Carolina, 2001, Textile Friends at Roslyn Chapel, Pencuik, Scotland, 2001, Mahindra United World College, Pune, India, 2001, YMI Cultural Center, Asheville, North Carolina, 2000, Park School, Baltimore, Maryland, 2000, University of Wisconsin, Milwaukee, Wisconsin, 2000, Sauk City Middle School, Sauk City, Wisconsin, 2000, Memorial High School, Madison, Wisconsin, 2000, Greater Madison Urban League, Teen Parenting Program, Madison, Wisconsin, 2000, Charlottesville High School, Charlottesville, Virginia, 2000, River Falls Public Library, River Falls, Wisconsin, 2000, Milwaukee County Historical Society, Milwaukee, Wisconsin, 2000, Chazen Museum of Art, Madison, Wisconsin, 2000, Columbus Art Museum, Columbus, Ohio, 1999, Prevent Child Abuse Association, Madison, Wisconsin, 1999, Greater Chicago Bead Society, Chicago, Illinois, 1999

Grants, Awards and Residencies

  • Civitella Ranieri Foundation Fellowship, Umbertide, Italy, 2012
  • Culture Works Grant, Richmond, VA, 2011-12
  • Art Matters Grant, New York, NY, 2011-12
  • McColl Center Artist in Residence, Charlotte, North Carolina, 2011
  • Virginia Museum of Fine Arts Professional Fellowship, 2011-12
  • Cranbrook Academy of Art Distinguished Mid-Career Alumni Award, 2011
  • Smithsonian Artist Research Fellowship, 2010 -11
  • Virginia Commission for the Arts (VCA) Fellowship, 2009
  • Outstanding Woman in the Arts for the State of Virginia (VCA), 2009
  • Terry Family Foundation Edenfred Residency, Madison, Wisconsin, 2009
  • Donald Jay Gordon Visiting Artist, Swarthmore College, 2009
  • Top Ten Exhibits 2008 (City Paper) in Baltimore, Maryland, 2008
  • USA Artists Award, Nominee, 2008
  • Joan Mitchell Award, Nominee, 2008 and 2005
  • Louis Comfort Tiffany Award, Nominee, 2007 and 2004
  • Rockefeller Foundation, Bellagio Residency, Bellagio, Italy, 2006 
  • Pollock Krasner Grant, 2006
  • Joyce Alexander Wein Artist Prize, Nominee, 2006
  • Ruth Chenven Foundation Award, 2005
  • Red Gate Artist in Residence, Beijing, China, 2005
  • Romnes Award, University of Wisconsin-Madison, 2004    
  • Emily Mead Baldwin-Bascom Professorship in Creative Arts, 2004
  • Joan C. Edwards Distinguished Professor in the Arts Residency, Marshall University, West Virginia, 2004
  • University of Wisconsin-Madison Research Grant, 2002, 2001, 2000, 1997
  • Meta Schroeder Beckner Endowment Grant, 2002 and 2000
  • CityArts Grant  (Baltimore, Maryland), 2001
  • Lillian Elliott Award, 2000 
  • Wisconsin Arts Board Artist Fellowship Award, 2000  
  • Arts Institute Edna Wiechers Grant, 1999
  • Hunter Museum of Art Juror’s Choice Award, Juror: Sam Gilliam, 1996
  • Nita "Billie" Barak Memorial Merit Scholarship (Cranbrook Academy of Art), 1994
  • Smithsonian Institution Graduate Fellowship (National Museum of African Art), 1994
  • Philip Morris Fellowship (Cranbrook Academy of Art), 1993
  • Jack Lenor Larsen Scholarship (Haystack Mountain School of Crafts), 1992
  • Undergraduate Merit Scholarship (Art Institute of Chicago), 1992
  • Excellence in Scholarship Prize in Psychology (Amherst College), 1988

Public Collections

  • 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

Selected Reviews and Cited Works

Books

  • Sims, Lowery 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, 2008  pp. 9 – 19
  • 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
  • Douglas, Diane and Vicki Halper. Choosing Craft: A History in Artists' Words, University of North Carolina Press (Chapel Hill), 2008.
  • 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, pp. 310 – 313
  • Afolabi, Niyi, ed. The Marvels of the African World. Africa World Press, 2002, p. 395-407
  • 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, M. I. T. 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

  • Jamieson, Katherine. “Cultural Roots”, Amherst, Fall 2010, p 44
  • DeSmith, Christy. “Data Processing”, American Craft, Vol. 70, No.6 Dec/Jan 2011, p. 24
  • 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”, 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 
Thursday, July 31, 2008; Page C05
  • 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, pp. 1 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, p. E4
  • Becker, Cynthia. “Review: Beaded Prayers”  African Arts,  Summer 2006, Vol 39. No. 2, p. 9, 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, pp.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– D2
  • "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. 16D – 18D
  • Mensing, Margo. "Student Symposium at Cranbrook", Fiberarts, Vol. 21, No. 2, September/October 1994. p. 12

Curatorial Projects

  • 2011    Tacit: Recent regional alumni from VCU Craft, Visual Arts Center of Richmond
  • 2008    Familiar Faces, Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia
  • Devorah Sperber, Kim Kamens, Xiang Yang, Lia Cook, Na-Jung Kim
  • 2007    Hush Lush, Piedmont Center for the Arts, Martinsville, Virginia
  • Jack Wax, Debbie Quick, Susie Ganch, Xenobia Bailey, Susie Brandt, Bean Finneran
  • Xenobia Bailey, Natasha St. Michael, Michal Zehavi, Nancy Koenigsberg, Kyoung Ae Cho
  • Rachel 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

Published Articles

  • “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”, 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
  • ed. Douglas, Diane and Vicki Halper. Choosing Craft: A History in Artists' Words, University of North Carolina Press (Chapel Hill), 2009, pp 37-39
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