Jessica Silverman
Jessica Silverman
×
← BACK
← PREVIOUS WORK
NEXT WORK →
← PREVIOUS
Sadie Barnette: 28
INQUIRE
NEXT →
×
← BACK
← PREVIOUS WORK
NEXT WORK →
← PREVIOUS WORK
INQUIRE
NEXT WORK →

Sadie Barnette: 28

Sadie Barnette: 28

September 10-October 24, 2026

As part of Nexus: SF/Bay Area Black Art Week, presented by the Museum of the African Diaspora (MoAD), the gallery will host an exhibition walkthrough with the artist, led by Cornelia Stokes, Assistant Curator of the Art of the African Diaspora at SFMOMA and MoAD on Friday, October 2, from 5–7 pm.

Jessica Silverman is pleased to present Sadie Barnette‘s second solo exhibition with the gallery titled “28” as it is the 28th solo exhibition of the artist’s career to date. On view September 10 through October 24, the show features new colored-pencil drawings and a new installation in ash and poplar wood that asks questions about perspective and legibility. Throughout the show, Barnette explores the history of abstraction, the social life of language, and the unconscious insights of the mundane. The work in “28” is as intellectual as it is embodied, revealing the significance of a single mark, and the multiple meanings of an ordinary phrase.

Concurrent with “28” at Jessica Silverman are Sadie Barnette’s solo exhibition at the Joslyn Art Museum in Omaha, Nebraska on view through January 3, 2027, and the site-specific photomural “How to Fly” on view at the California African American Museum in Los Angeles, through October 3, 2027.

INSTALLATION VIEW
SELECTED WORKS
ARTIST BIO
OTHER EXHIBITIONS

INSTALLATION VIEW

SELECTED WORKS

Sadie Barnette
Good People (Decaptych), 2026
Ash and poplar wood
36 x 132 x 132 inches / 91.4 x 335.3 x 335.3 cm; Overall weight: approx 1200 lbs; Each letter: 80 – 140 lbs

INQUIRE
Sadie Barnette, Good People (Decaptych)
Good People (Decaptych) (2026), is an eleven-foot-long, three-dimensional rendition of the phrase “good people” in Cooper Black typeface. While her 2-D text works invite reflection and interpretation, Good People (Decaptych) also calls the body forward. Arranged around an open center, the sculpture turns the familiar phrase into a communal structure.
Sadie Barnette
DOTS 7, 2026
Colored pencil on paper
46 1/4 x 37 1/4 x 2 inches / 117.5 x 94.6 x 5.1 cm

INQUIRE
Sadie Barnette, DOTS 7
Sadie Barnette
DOTS 4, 2026
Colored pencil on paper
31 3/4 x 25 3/4 x 1 1/2 inches / 80.6 x 65.4 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 4
For over a decade, Barnette has turned recognizable symbols and expressions into recurring motifs. Repeated mark-making and text-based abstractions materialize the unacknowledged weight of familiar sensations and experiences. Barnette’s practice is rooted in family legacy and personal exploration. In “28,” the artist extends questions of recognition and legibility through elemental forms and the phrase “good people.” Her painstaking, pristine drawings achieve an almost print-like precision, despite being made entirely by hand, while her carefully crafted sculptures make unconventional use of their materials. Through repetition, labor, and material transformation, Barnette gives form to the associations carried by even the simplest marks and phrases.
Sadie Barnette
DOTS 5, 2026
Colored pencil on paper
31 3/4 x 25 3/4 x 1 1/2 inches / 80.6 x 65.4 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 5
Sadie Barnette
DOTS 6, 2026
Colored pencil on paper
31 3/4 x 25 3/4 x 1 1/2 inches / 80.6 x 65.4 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 6
“28” also debuts a group of colored-pencil drawings from her new Dots series. Here the artist designs a pattern that is translated into a translucent vinyl stencil, building up color through tight, systematic layers. Each work follows one of three predetermined palettes—primary colors, rainbow, or black-and-white—and is further shaped by position and size. The process recalls the Conceptualist legacy of artists such as Sol LeWitt, who used written instructions to generate their compositions. Cool-gray shadows give the dots an illusion of depth, making them appear to hover above the paper, while some dots break into half-moon shapes. At a larger scale, the primary-colored circles recall John Baldessari’s use of disks to thwart the gaze, while their repetition evokes Howardena Pindell’s punched-paper compositions. Barnette engages in this art-historical conversation and reasserts the hand into forms associated with mechanical reproduction.
Sadie Barnette
DOTS 2, 2026
Colored pencil on paper
21 5/8 x 17 5/8 x 1 1/2 inches / 54.8 x 44.6 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 2
Sadie Barnette
DOTS 3, 2026
Colored pencil on paper
21 5/8 x 17 5/8 x 1 1/2 inches / 54.8 x 44.6 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 3
Sadie Barnette
DOTS 1, 2026
Colored pencil on paper
21 5/8 x 17 5/8 x 1 1/2 inches / 54.8 x 44.6 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 1
Sadie Barnette
DOTS 2, 2026
Colored pencil on paper
21 5/8 x 17 5/8 x 1 1/2 inches / 54.8 x 44.6 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 2
Sadie Barnette
DOTS 3, 2026
Colored pencil on paper
21 5/8 x 17 5/8 x 1 1/2 inches / 54.8 x 44.6 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 3
Sadie Barnette
DOTS 1, 2026
Colored pencil on paper
21 5/8 x 17 5/8 x 1 1/2 inches / 54.8 x 44.6 x 3.8 cm

INQUIRE
Sadie Barnette, DOTS 1
In “28,” Barnette recasts the language of postwar American abstraction, challenging the presumed neutrality of its elemental forms. Familiar signs shift in scale, substance, and meaning. In Barnette’s hands, the ordinary becomes open and expansive.
Sadie Barnette (b. 1984, Oakland, CA) has a BFA from CalArts and an MFA from University of California, San Diego. Barnette has enjoyed solo exhibitions at the Walker Art Center, Minneapolis; SFMOMA, CA; San José Museum of Art; The Kitchen, New York; Pomona College, Los Angeles and Pitzer College Art Galleries, Los Angeles; ICA Los Angeles; The Lab, San Francisco; Museum of the African Diaspora, San Francisco; Cantor Fitzgerald Gallery, Haverford College, PA; and Manetti Shrem Museum, UC Davis. Barnette is currently the subject of a solo exhibition at the Joslyn Art Museum, Omaha, NE. She is the recipient of numerous awards, including the Creative Capital Award, United States Artists Fellowship, Paulson Fontaine Press residency, Studio Museum in Harlem residency, Artadia Award, Skowhegan School of Painting and Sculpture residency, and the inaugural Artist Fellow at UC Berkeley’s Black Studies Collaboratory, among others. Her work is in the permanent collections of the Metropolitan Museum of Art, NY; Whitney Museum of American Art, NY; LACMA, CA; de Young, San Francisco, CA; Brooklyn Museum; Pérez Art Museum, Miami; Guggenheim Museum, NY; Art Institute of Chicago, IL; Blanton Museum at UT Austin, TX; San José Museum of Art, CA; Oakland Museum of California; Berkeley Art Museum; Studio Museum in Harlem, NY; and Walker Art Center, Minneapolis, among others. Recent commissions include Bay Area Walls at SFMOMA, a large-scale photomural at California African American Museum on view through October 2027, and a permanent, site-specific installation at the Los Angeles International Airport that is forthcoming in 2027. Barnette lives and works in Oakland, CA.
×






    ×