Tulsa Artist Fellowship is pleased to present Le’Andra LeSeur: Monument Eternal, an evolving meditation on the violence of erasure, the weight of silence, and the profound effects these things have on collective identity and mental well-being, on view from October 3, 2025, through March 21, 2026, at Tulsa Artist Fellowship Flagship gallery. 

What began as a personal reckoning with Stone Mountain, Georgia—the site of the Ku Klux Klan’s 1915 resurgence—has expanded into a broader, interconnected investigation into American landscapes where racial terror has taken root and where its memory remains unmarked or distorted. Through video, sculpture, photography, and sound, the project builds an embodied archive of presence where absence has long prevailed.

Monument Eternal centers on a titular video inspired by Stone Mountain—a public park distinguished by a three-acre-wide carving that depicts Confederate leaders on horseback, begun in 1923 and completed in 1972. In spite of this, it remains the state’s most popular attraction, frequented by local residents and tourists alike for its recreational offerings, and where LeSeur, who spent the majority of her adolescence in Atlanta, recalls many family gatherings. She began to consider its corporeal impact after revisiting the site as an adult, an experience that eventually gave way to this series.

A poetic translation of the body in collapse, the video stitches together slow-motion captures of the artist falling, unabated and repeatedly, on the mountain’s peak. The work borrows its title from an abridged autobiography written by Alice Coltrane, in which the avant-garde composer recounts her journey through physical and mental tests continuously self-imposed in the pursuit of spiritual transcendence. Similarly, LeSeur pushes her body to extreme physical limits within her own performance practice as a way of confronting and transcending both historical legacies of Blackness as well as her own personal identity as a queer Black person. This process of perseverance and self-discovery is captured within the spoken word poetry written and narrated by LeSeur, which provides the basis for the film’s score.

These themes continue in the most recent iteration of Monument Eternal, which shifts focus to the 1911 lynching of Laura Nelson and her son, LD Nelson, in Okemah, Oklahoma. Though this event predates the Klan’s resurgence at Stone Mountain, it forms part of the same lineage of racial violence. Here, LeSeur’s attention turns to how history is recorded or, more often, how it is suppressed. With no official marker on the site of Laura and LD’s lynching, what remains is an online image: gruesome, persistent, and dehumanizing. Through five new sculptural and photographic works, LeSeur resists the spectacle of this violence by creating alternative memorials where quietude and refusal are intentional. It echoes decades of avoidance, of stories unspoken and histories untaught.

Accompanying these installations are other works born from LeSeur’s visits to Stone Mountain, where she tracked involuntary movements—flicks of the wrist, shifts in breath—and translated them into mark-making gestures. These gestures reappear in paintings, drawings, and blown glass, transforming imperceptible responses into material evidence. In doing so, LeSeur continues her inquiry into how bodies carry history—and how art can become a vessel for healing.

The third iteration of Monument Eternal is commissioned, in part, by Tulsa Artist Fellowship. The touring works were co-commissioned by Pioneer Works and the Pittsburgh Cultural Trust, and are curated by Vivian Chui. This exhibition is made possible through the generous support of Tulsa Artist Fellowship; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and the New York State Council on the Arts, with the support of the Office of the Governor and the New York State Legislature.

PAST EXHIBITION PROGRAMS

NOVEMBER 22 + 23, 2025 | VARIOUS LOCATIONS

On Death, Grief, and the Importance of the Archive:
Community Deathwork Educational | Two-Session Workshop | Closed
Listen, Dance, Breathe | Single Class | Closed
Language and the Altar | Single Class | Closed

Le’Andra LeSeur brings together death doulas Resham Mantri and Trishia Frulla to lead a two-day program, On Death, Grief, and the Importance of the Archive, examining the enduring effects of grief. Together, they will explore how grief is embodied and carried through collective memory. They will also highlight the role of the personal archive as a vital act of care that disrupts cycles of violence and systemic erasure.

OCTOBER 4, 2025 | THE OATH STUDIO

It’s About You: Silence, Erasure, and the Persistence of Memory with Joël Díaz, Le’Andra LeSeur, and Jessica Lynne

On the occasion of Le’Andra LeSeur: Monument Eternal, this panel will consider how artistic practices anchored in language can reframe historical absences as sites of knowledge production and cultural continuity in the face of systemic erasure.

ABOUT THE ARTIST

Le’Andra LeSeur (b. 1989 in Bronx, NY) is a multidisciplinary artist whose work encompasses a range of media, including video, installation, photography, painting, and performance. Her body of work, a celebration of Blackness, queerness, and femininity, seeks to dismantle systems of power and achieve transcendence and liberation through perseverance. Through the insertion of her body and voice into her work, LeSeur provides her audience with an opportunity to contemplate themes such as identity, family, Black grief and joy, the experience of invisibility, and what it means to take up space as a queer Black woman—a rejection of the stereotypes which attempt to push these identities to the margins. The artist has received several notable awards, including the Tulsa Artist Fellowship (2024-2026), Leslie-Lohman Museum Artists Fellowship (2019), the Time-Based Medium Prize, and the Juried Grand Prize at Artprize 10 (2018). LeSeur has appeared in conversation with Marilyn Minter at the Brooklyn Museum, presented by the Tory Burch Foundation, and has lectured at The New School, NY, NY, and the University of the Arts, Philadelphia, PA, among others. Her work has been shown in solo and group exhibitions at MFA Boston, Boston, MA; Swivel Gallery, NY, NY; The Shed, New York, NY; Marlborough, New York, NY; Atlanta Contemporary, Atlanta, GA; A.I.R. Gallery, Brooklyn, NY; Assembly Room, New York, NY; Microscope Gallery, Brooklyn, NY; Arnika Dawkins, Atlanta, GA; and others. Residencies include Pioneer Works, iLab at The University of the Arts, Visual Studies Workshop, ArcAthens, NARS Foundation, Marble House Project, and MASS MoCA.

At Tulsa Artist Fellowship Studios, experience Miguel Braceli: Futuro Imperfecto, a multifaceted exhibition of performance, film, live sound, and installations that rethink political polarization, public space, and collective action through poetic, participatory gestures, on view from March 6, 2026, through June 5, 2026. 

Tulsa Art Fellowship and The Hulett Collection present Futuro Imperfecto, a show of recent works by Miguel Braceli. For over a decade, Braceli has created a range of performances, installations, photography, and videos that comment upon the polarized, sometimes disorienting conditions of today’s political climate in both his native Venezuela and the United States. Collaborative performances such as Área (2014) invite the public to examine and remake space, emphasizing collective unity in the face of partisan division. In this work, seventy participants occupy the Plaza de Caracas and outline the titular “area” with a long, textile band. As they move from a position of direct opposition into a single, linear row, the performers redefine this governmental district from a space of contention to one of social cohesion and cooperation. More recent works expand Braceli’s geographic and material repertoire by addressing political polarization in the United States, which echoes the Venezuelan experience. Geopolitical Games (2020) comments on the absurdity of horserace politics in an era of rising authoritarianism. It features a video of citizens and non-citizens playing an imaginary game with red balls and blue balls. The game ends in deflation—of both the balls themselves as well as of the nationalist gamesmanship that they represent. With a poetic, oblique sensibility that defamiliarizes everyday spaces and symbols of national pride and political tribalism, Braceli’s body of work gives tangible form to the intangible forces that define our own “imperfect future.”

ABOUT THE ARTIST

Miguel Braceli is an interdisciplinary artist working at the intersection of art, architecture, and social practices. His artistic practice centers on participatory projects in public spaces, exploring both geopolitical and local conflicts through large-scale works across Latin America, Europe, the Middle East, and the United States. Braceli has presented performances, exhibitions, and educational projects in collaboration with renowned institutions such as MoMA Ps1, Documenta Fifteen, The Bronx Museum of the Arts, Hemispheric Institute NY with MUAC-UNAM, Matadero Madrid, Museo Moderno de Buenos Aires, Athr Foundation, the Untitled Art Fair, and Pace Gallery. His work has been highlighted in influential journals and magazines, including e-flux Criticism, Forbes, and Art Review.

He has participated in esteemed residencies and programs, including MacDowell (2023), Fountainhead (2023), Skowhegan School of Painting (2022), Art Omi (2021), and McColl Center for Art (2020). Additionally, he was an AIM Bronx Museum Fellow (2022) and Fine Arts Work Center Fellow (2024). Braceli’s recent recognitions include being a Fulbright Scholar (2019-2020), the Young Artist Award from the Principality of Asturias (2018), and the Tulsa Artist Fellowship Award (2024-2026). In 2021, he co-founded LA ESCUELA___ in collaboration with Siemens Stiftung International. In 2022, he received a commission from the Percent for Art program to create a permanent large-scale public artwork in New York City.