Artist Category: Exhibited

KENT MONKMAN is an interdisciplinary Cree visual artist. A member of ocêkwi sîpiy (Fisher River Cree Nation) in Treaty 5 Territory (Manitoba), he lives and works between New York City and Toronto.

Monkman’s gender-fluid alter ego Miss Chief Eagle Testickle often appears in his work as a time-travelling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples. His artworks are held in the permanent collections of public institutions including the Metropolitan Museum of Art; the Denver Art Museum; the Smithsonian American Art Museum; the Hirshhorn Museum; Musée des beaux-arts de Montréal; the National Gallery of Canada; and macLYON. Private foundations that house his works include Art Bridges; the Gochman Family Collection; the Sobey Art Foundation; and the Walker Youngbird Foundation. His works have been exhibited at institutions such as Louvre-Lens; Crystal Bridges Museum of American Art; Palais de Tokyo; and the Royal Ontario Museum.

In 2019, Monkman was commissioned as the inaugural artist to make two monumental paintings for The Met’s Great Hall Commission project. In 2023, he was appointed an Officer of the Order of Canada—Canada’s highest civilian honour—and in 2025, he received the Governor General’s Award in Visual and Media Arts.

June Clark has earned national and international recognition for her photo-based image works, installations and interventions. She holds a BFA and MFA from York University. Clark has had solo exhibitions at the Contemporary Calgary (2025); Power Plant, Toronto (2024); the Art Gallery of Ontario (2024; 2018); the Ringling Museum of Art, Sarasota (2022); the Studio Museum in Harlem, New York (1997); the Koffler Gallery, Toronto (1994); and Mercer Union, Toronto (1990), and was shortlisted for the 2024 Sobey Art Awards.

Clark’s work has been included in exhibitions at the Studio Museum in Harlem, New York(2025; 1997); the National Gallery of Art, Washington (2025); the National Gallery of Canada, Ottawa (2025; 2024; 2004), Ottawa; MOCA, Toronto (2024); Saatchi Gallery, London (2024); Dalhousie Art Gallery, Halifax (2024); Peabody Essex Museum, Salem(2023); the Polygon Gallery, Vancouver (2023); the University of Toronto Art Museum, Toronto (2023); the Art Gallery of Ontario, Toronto (2021; 2016), Agnès b., Paris (1994); and Linda Kirkland Gallery, New York (1997). She has completed residencies at the Studio Museum in Harlem and the Ontario College of Art and Design. Her work can be found in the collections of the National Gallery of Art, Washington; the National Museum of African American History & Culture, Washington; the Art Gallery of Ontario, Toronto; the Museum of Fine Arts, Montreal; the National Gallery of Canada, Ottawa; the Rose Art Museum, Brandeis University; the Wedge Collection, Toronto; the Beth Rudin DeWoody Collection, New York;the James Van Der Zee Institute, New York; and La galerie du jour agnès b., Paris; among others

Winsom is a Canadian-Maroon multi-media artist whose instinctive works explore themes of freedom, survivance, resilience, renewal, and African spirituality within the context of the Black Atlantic experience. Winsom is currently included in the Contemporary Native Art Biennial in Montreal until June 21st. Frieze Magazine named her 2024 solo exhibition at Clint Roenisch Gallery, Bridging Time, a Must-See. Her work was prominently featured in the 2024 Toronto Biennial and was included in Ukutula: Our Timeless Journeys at MuseumLondon. A two-person show with her daughter Tara was mounted in 2025 at the Art Gallery of Mississauga . In 2019 the Art Gallery of Ontario mounted two installations of Winsom’s work, one of which was subsequently acquired by the Agnes Etherington Art Centre at Queen’s University. In 2024 the Agnes also commissioned a short documentary, Winsom. She is also the central figure in a monumental mural, Echoes of Devotion, by artist Anthony Gebrehiwot that presides over the Queen’s campus until late 2026. Winsom is included in Statues Never Die at the Mackenzie Art Gallery (Regina, SK) in 2027.

Bushra Junaid (she/her) is a visual artist, author, and curator working between Toronto and Newfoundland and Labrador. Born in Montreal to Jamaican and Nigerian parents and raised in St. John’s, her work explores history, cultural memory, and placemaking, with a focus on the Black diasporic histories of Atlantic Canada. Through archival research and storytelling, she brings overlooked histories and narratives into view.

Junaid has exhibited nationally and in the United States and has curated landmark exhibitions centered on Black and Caribbean diasporic experience. In 2020, she curated What Carries Us: Newfoundland and Labrador in the Black Atlantic at The Rooms Provincial Art Gallery in St. John’s. The exhibition traced the province’s historical, economic, and cultural ties to Africa and the Caribbean through the Transatlantic Slave Trade and its afterlives, bringing together contemporary artworks and rare historical materials.

During her research, she uncovered the story of a 19th-century Black sailor buried on the Labrador coast, whose remains had been held in The Rooms’ collection since the late 1980s. This discovery led her to write and illustrate The Possible Lives of W.H., Sailor (2022), a poetic, research-based children’s book that reimagines the life of this unknown figure and has sparked renewed scientific investigation into and scholarly engagement with this little-known chapter of Canadian history.

Natia Lemay (b. 1985, Toronto) is an interdisciplinary artist raised in Winnipeg and based in Toronto Ontario. Her autoethnographic practice draws on personal stories to explore how the mind, body, and space interact, reflecting on lived experience as a lens to understanding broader cultural and social contexts.

Natia Lemay has exhibited widely throughout North America. The artist was selected for the 2025 CIBC C2 Art Program, 2024 Fountainhead residency in Miami and the 2022 Royal Drawing School Residency in Dumfries, Scotland. She was awarded the National Trust Prize at Expo Chicago 2024, with her work acquired by High Museum in Atlanta in addition to being collected by the Art Gallery of Ontario, The Minneapolis Institute of Art, The Minnesota Museum of American Art, The North

Dakota Museum of Art and The Montclair Museum of Art. She is represented by Galerie Nicolas Robert in Montreal, Yossi Milo Gallery in New York City and Wilding Cran Gallery in Los Angeles. She received her BFA from Ontario College of Art and Design in 2021 with a minor in Social Sciences and her MFA from Yale School of Art in 2023

Justin Yoon (b. 1991, Los Angeles, California) is a Brooklyn based painter. Early childhood memories of American junk food, late night old Hollywood movies on the TV, and listening to jazz in the car with his family on long drives significantly affected him to create a world of romantic melancholia, synthetic colors, and casual lostness of being. With no specific emotions provoked, the group of characters reoccur over and over in a deeply synthetic yet ambiguous dream-like landscape, continuing on this never ending “Highschool Reunion”. The viewer becomes a part of this experience, which is vaguely both universal yet deeply personal. Justin holds a B.F.A in Illustration from Parsons School for Design, NY. His work has been exhibited at The Hole, Anat Ebgi Gallery, Taymour Grahne Projects, Mindy Solomon Gallery, Fragments Gallery, Museum of Sex, Shelter Gallery, Hannah Traore Gallery, Gallery Belenius, Investec Art Fair, ART021 Shanghai Contemporary Art Fair, Felix Art fair, Hashimoto Contemporary, Jonathan Carver Moore Gallery and more. Justin’s work has been published in New American Paintings, Banana Magazine, Crotch Magazine, Math Magazine, Lezs Magazine, and more.

Muzae Sesay is a self-taught painter born in 1989 in Long Beach, California, who lives and works in Oakland, where he has become one of the city’s most celebrated artists. A graduate of San Francisco State University with a degree in sociology — a discipline that continues to deeply inform his practice — he moved to the Bay Area in 2011, drawn by its creative culture and sense of community. Working with vinyl paint, acrylic, oil pastel, and oil bars, Sesay creates vivid geometric compositions of interiors, exteriors, and landscapes built from skewed perspectives and collapsing planes of color, constructing immersive fragmented universes that explore the collective relationship between space, memory, community, and cultural identity — including his own Sierra Leonean heritage. His work is held in the public collections of the San Francisco Museum of Modern Art, the de Young Museum, and Stanford Healthcare, and his public commissions include a 150′ x 100′ mural at 19th and Telegraph in Oakland and two painted basketball courts at Rainbow Recreation Center. He has exhibited internationally at institutions including SFMOMA, Tiwani Contemporary in London, V1 Gallery in Copenhagen, Berggruen Gallery in San Francisco, and Hannah Traore Gallery in New York.

Wendy Red Star (b. 1981, Billings, Montana; lives and works in Portland, Oregon) is an Apsáalooke artist whose multidisciplinary practice is grounded in the histories, archives, and lived knowledge of the Apsáalooke Nation. Raised in the district of Pryor in Montana, her work grows from the stories passed through her family, the materials she encounters in historical records, and the lineage she carries forward — research, image-making, and material experimentation operating as a single movement in which histories reassemble through form rather than explanation, and time is felt through repetition, return, and proximity rather than linear narration. She received her BFA from Montana State University, Bozeman, and her MFA in Sculpture from the University of California, Los Angeles, and her work has been recognized with numerous awards including the Louis Comfort Tiffany Award (2017), the Smithsonian Artist Research Fellowship (2018), the MacArthur Fellowship (2024), and an Honorary Doctorate from Montana State University, Bozeman (2025). Her first career survey, Wendy Red Star: A Scratch on the Earth, opened at the Newark Museum in 2019 and traveled to the San Antonio Museum of Art and the Columbus Museum of Art, and recent exhibitions include presentations at the Whitney Museum of American Art, the National Gallery of Art, the British Museum, and The Broad, Los Angeles. Her work is held in more than eighty public collections worldwide — among them MoMA, the Guggenheim, the Metropolitan Museum of Art, LACMA, the Smithsonian American Art Museum, and the British Museum — and in 2027, the National Portrait Gallery in Washington, D.C., will present a major solo exhibition of her work.

As a black woman artist from Maryland, Murjoni Merriweather has found that the best way to create and talk about black culture is through art, especially claywork. As a student from the Maryland Institute College of Art (MICA), Murjoni creates sculpted beings that are based around real people and real experiences. Her work addresses and eliminates stereotypes through clay portraits and video work. With this, she enjoys going against the European standards of “beauty” that are placed upon people of color. (light skin, petite figure,etc.), and normalizing what is natural about black bodies; loving and accepting them as they come. Through the artwork, connections and reflections with herself and others based on shared experiences. Continuing her craft, she plans to continue eliminating stereotypes and prejudices while uplifting the black community.