IN THE NEWS

Architectural Digest August 18, 2020

Press Release August 2020

 (New York, August 3, 2020) — Broadway Housing Communities (BHC), and its cultural and arts advocacy arm, the Rio Galleries, are partnering with The Plywood Project to create two large-scale protest art installations covering the massive glass walls of the Sugar Hill Children’s Museum of Art & Storytelling (SHCMAS), on the corner of 155th Street and St. Nicholas Avenue. 

Salon July 25, 2020

The Star July 24, 2020

Yahoo News July 24,2020

Broadway World July 21, 2020

Hypebeast July 21,200

Press Release July 2020

The Plywood Project —a new public art initiative, inspired by recently boarded storefronts, to transform and empower communities with art— is unveiling its pilot artwork, by Brooklyn based artist Sophia Dawson in conjunction with Carrie Mae Weems’ Covid PSA posters, in the heart of downtown Brooklyn.

The Plywood Project, a growing consortium of partners formed in June 2020, will make its formal public debut on July 20th, with the unveiling of Sophia Dawson’s newly commissioned painting at the Modell’s Sporting Goods located across the street from Barclay’s Center, which was transformed into a spontaneous town square as its plaza became a nexus for demonstrations against police brutality and racial injustice. Dawson was recently chosen by New York City’s Department of Cultural Affairs as one of the artists to create the newly minted Black Lives Matter mural in Foley Square. Alongside Dawson’s painting, the Plywood Project Modell’s installation will feature wheat pasted posters by MacArthur Award-winning artist Carrie Mae Weems, as part of her Resist Covid Take 6 PSA campaign, in support of communities most impacted by the devasting coronavirus. Dawson’s Plywood Project artwork is produced in collaboration with Street Theory Gallery, curators of the Underground Mural Project, and created with youth mentored by Dawson, in collaboration with Artistic Noise, a nonprofit nurturing artistic expression among justice-involved youth.

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Sophia Dawson in The New York Times