Malcolm Marcus Peacock

The first eleven images in this portfolio are from a 3-room installation. This art work is titled, “Invisible MXN”, a queer take on and borrowing of the language of Ralph Ellison’s Invisible Man. This show makes architectural and special references to East Coast Black gay sex clubs in cities such as Baltimore, Atlanta, and New York in order to explore themes and potentials of sex, intimacy, and community amongst queer members of the spaces. In this work I combined art of erotic nature from both my child and adulthood with audio files (embedded in pillows) from Black men having conversations with one another about topics of their choosing such as sex, guns, Instagram, love, familial trauma, and more to create a space that extends beyond the designated boundaries in which almost all Black gay sex clubs in the U.S. currently exist. These boundaries being the dark and closeted architecture and expected behaviors of silence and anonymity. Many of the works pictured (images 1, 2, 3, 5, 6, 7, 8, 9, 11) pull from lived experiences of my own that unpack my sexual trauma over time. Some of these memories being my charged relationship to the D’Angelo Untitled music video and my desire for a reframing of it that is not purely sexualized, my relationship to erotic drawings of naked boys in middle and highs school which was a desire to touch another being but not having space to do so, and my usage of braided hair as a way to speak to my mother, a hair stylist, about my first sexually transmitted infection.


Images 12 and 13 in this portfolio show a durational performance that took place in the Brooklyn Army Terminal. This work is deeply inspired by actions of Black people that were demonized in history. Actions that did not cause others harm. In the space of the performance which I executed for 6 hours a day, three days a week, for one month, viewers are invited to spend time inside of an intimate living space. This invitation is extended to others through the placement of my food, urine, clothing, books, and writing. Providing context for this site as a place of solitude, confinement, and privacy. My resting position is occupied to take up the position of the saying “I don’t have to do anything but be Black and die”. Both Malcolm X and Anotine Yates, who illegally occupied spaces in their lives in different ways are written about via their own words pulled from books and articles. This text uses language from myself as well and refers to my own loss of housing in which I became legally homeless years ago, occupying an unfit living space. In all of my work, it is important to me that viewers are presented with spaces to be inside of while having to make choices about how they will or will not engage with the realities that constitute the lives of others.


The last two works in this portfolio are taken in a garden on a hill in Upstate New York. I used this site to place others and myself inside of a space that was expansive with green growth and an open sky, but confined by a barricade and a rectangular shape. This space reminded me of Malcolm X’s days of lying in Mecca as he recalls Hector’s Hill (a gifted garden from his mother) and The Hole, (solitary confinement). The hill, the hole, and the holy world (Mecca) were spaces where he found himself gazing upward, longing for connections with family, large crowds, and other Muslims. In these images, I share these passages with the viewers, dressed in the attire I wore to the mosque as a boy and had conversations about borders, colorism, self-worth, incarceration, gender, and yearnings for belonging to another person. Viewers surpassed my imagination with the spaces they were willing to occupy and the thoughts they allowed themselves to share with me.


B. 1994 Raleigh, NC


2019 MFA in Visual Art, Mason Gross School of the Arts, New Brunswick, NJ

2017 Skowhegan School of Painting and Sculpture, Madison, ME

2016 BFA in Painting and Printmaking, Virginia Commonwealth University School of the Arts, Richmond, VA

Solo and Collaborative Works

2017 The Honor of Your Presence (in collaboration with Wesley Chavis), South Solon Quaker Meeting House, Madison, ME

2017 The Museum of Trayvon Martin, Terrault Contemporary, Baltimore, MD

2016 Let The Sun Set On You (curated by Ginevra Shay), Rose Arcade, Baltimore, MD

2015 The Black Inventors Hall of Fame, Richmond, VA

Selected Group Exhibitions

2019 Kara Walker Presents: The Colossus of Rutgers, The Brooklyn Army Terminal, Brooklyn, NY

2019 Necessary and Insufficient-Thesis Exhibition, Rutgers University, New Brunswick, NJ

2018 Floaters (curated by Sarah Coote), Public Pool Gallery, Los Angeles, CA
All Kinds of Things (curated by Xaviera Simmons), Denniston Hill Artists Residency, Monticello, NY

2017 MARTHA – please don’t spit in the garden, Rutgers University, New Brunswick, NJ

2016 Anderson Gallery Undergraduate Juried Exhibition (curated by Toby Kamps of The Menil Collection), Anderson Gallery, Virginia Commonwealth University School of the Arts, Richmond, VA
Writing in Our Spaces, Terrault Contemporary, Baltimore, MD

2015 Shimmer, Page Bond Gallery, Richmond, VA
Relay Relay, VCU Painting and Printmaking Project Space, Richmond VA Community Room presents Dog Days, 1708 Gallery, Richmond, VA
Greatest Hits, PSU School of Art, Portland, OR
Anderson Gallery Undergraduate Juried Exhibition (curated by Dean Daderko of Houston Contemporary Art Museum), Anderson Gallery, Virginia Commonwealth University School of the Arts, Richmond, VA
30//60//90 Minute Meals, Carrie Rowland Gallery, Richmond, VA

2014 I think I have to Agree with Myself, Richmond, VA

The Harnessing of Light-InLight (Performer for Annie Albaglia), Richmond, VA Black Cat Show, Edgar Allen Poe Museum, Richmond, VA

2013 Anderson Gallery Undergraduate Juried Exhibition (curated by Lisa Freiman of VCU Institute for Contemporary Art), Anderson Gallery, Virginia Commonwealth University School of the Arts, Richmond, VA


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