For The Record #BBOB, 2015
Mixed media
9″ x 12″ x 2″

Adrienne DeVine was born in Pasadena, California, where she currently lives and works. She received her BA in Art from California State University, Long Beach, and her MFA from Claremont Graduate University (CGU), where she was a recipient of the Helen B. Dooley Art Fellowship, and the Black Scholar’s Award. While attending CGU, Adrienne worked as a studio assistant for CGU Faculty Emeritus and pioneer abstract artist, Roland Reiss; and was a teaching assistant at Scripps College Press for the class, Art 135, Typography and Book Arts, under the direction of former Scripps College Press Director, Kitty Maryatt, and its current director, Tia Blassingame.

Adrienne DeVine’s bibliography includes: Foothill A Journal of Poetry, Volume 6, Number 1, October 2016; BAILA ZINE 2016: CODE, Issue No. 2, March 2016; and BAILA ZINE 2015, Issue No. 1, March 2015. Her work has been shown in greater Los Angeles area galleries since 2009, and her photography is included in the public collection of the City of Claremont, on display at the Alexander Hughes Center.

Adrienne’s work challenges the canon of art history, and explores relationships of identity and culture. She uses historical references and in uences from African writing systems, philosophies and cosmologies throughout her paintings, installations and object making.

“For The Record #BBOB” is an altered art history textbook that references the looting of bronzes and other objects from the palace of Benin (Nigeria), by the British Army in 1897. “#BBOB/ Bring Back Our Bronzes”, was inspired by the rallying cry, “Bring Back Our Girls/#BBOG”, in support of 276 girls kidnapped from the Chibok School in Nigeria by Boko Haram, in 2014. “For The Record #BBOB” is the second artist’s book in a series, and was a component of “Index Obscura”, an installation in my MFA thesis exhibition.

I am a mixed media artist and a compulsive maker of objects. My creative process is guided by the materials I use and the pleasure I nd in the activity of making. I work with a variety of materials, techniques, and themes, and make connections using recurring motifs and gestures. Whether it is painting, printmaking, books, assemblage, collage, sculpture, or installation; balance, harmony, repetition, unity, rhythm and movement are present during my process.

My artwork is informed by my cultural and social identity as a Black woman born and raised in the United States of America at a critical juncture in our nation’s history. References to race, class, civil rights, human rights, and social justice often make their way into my work, as do occasional references to popular culture. I am also driven to study African writing systems, philosophies, and cosmologies, and these subjects in uence my mark making and lead to further discoveries of knowledge and facts that inform my practice.