Kameelah Janan Rasheed was born in East Palo Alto, CA. She lives and works in Brooklyn, NY. Rasheed has a MA in Secondary Social Studies Education from Stanford University (2008), a BA in Public Policy from Pomona College (2006), and was an Amy Biehl U.S. Fulbright Scholar—South Africa at the University of Witwatersrand (2006–7). A learner, Rasheed’s work grapples with the poetics, politics, and pleasures of the unfinished. Engaging primarily with text, Rasheed works on the page, on computer screens, on walls, and in public spaces.
Rasheed’s work has been exhibited nationally at the Brooklyn Museum; New Museum; MASSMoCA; Queens Museum; Bronx Museum; Studio Museum in Harlem; Portland Institute for Contemporary Art; Institute of Contemporary Art – Philadelphia; Jack Shainman Gallery; Brooklyn Public Library; Brooklyn Historical Society, among others. Her work has been exhibited internationally at NOME; Transmission Gallery; Kunsthalle Wien; Bétonsalon—Centre d’art et de recherche; Contemporary Art Gallery-Vancouver; Artspace Peterborough; 2017 Venice Biennial; and National Gallery of Zimbabwe, among others. Her public installations include Ballroom Marfa, Brooklyn Museum, For Freedoms x Times Square Art, Public Art Fund, Moody Center for the Arts, 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 Scoring the Stacks (digital publication—Brooklyn Public Library, BPL Presents, 2021) . Her writing including longform essays and interviews have appeared in Triple Canopy, The New Inquiry, Shift Space, Active Cultures, and The Believer.
She is a 2021 Guggenheim Fellow in Fine Arts.