Kameelah Janan Rasheed (she/they) was born in East Palo Alto, CA. Rasheed
lives and works in Brooklyn, NY. She has an MA in Secondary Social Studies Education
from Stanford University (2008) and a BA in Public Policy from Pomona College (2006).
She was an Amy Biehl U.S. Fulbright Scholar at the University of Witwatersrand, South
Africa (2006–7). A learner, Rasheed grapples with the poetics-pleasures-politics of Black
knowledge production, information technologies, [un]learning, and belief formation.
They are interested in the rituals and technologies we use to generate, share, and conceal
knowledge.

Rasheed’s work has been exhibited nationally at the Brooklyn Museum; the New
Museum; MASS MoCA; the Queens Museum; the Bronx Museum; the Studio Museum
in Harlem; Portland Institute for Contemporary Art; the Institute of Contemporary Art,
Philadelphia; Jack Shainman Gallery, New York; the Brooklyn Public Library; and the
Brooklyn Historical Society, among others. Her work has been exhibited internationally
at NOME; Transmission Gallery, Glasgow; Kunsthalle Wien; Bétonsalon Centre d'art et
de recherche, Paris; Contemporary Art Gallery, Vancouver; Artspace Peterborough; the
57th Venice Biennial; and the National Gallery of Zimbabwe, among others. Her public
installations have appeared at Ballroom Marfa; the Brooklyn Museum; For Freedoms x
Times Square Art, New York; Public Art Fund, New York; Moody Center for the Arts,
Houston; The California Air Resources Board; and several others.

Rasheed is the author of three artist’s books: An Alphabetical Accumulation of
Approximate Observations (Endless Editions, 2019), No New Theories (Printed Matter,
2019), and the digital publication Scoring the Stacks (Brooklyn Public Library, 2021).
Her writing, including longform essays and interviews, has appeared in Triple Canopy,
The New Inquiry, Shift Space, Active Cultures, and The Believer.

She is a 2021 Guggenheim Fellow in Fine Arts and a 2022 Creative Capital Awardee.