Podcasts about African art

Katie and Steve speak with their colleague Eden Burgess and guest Dr. Ndubuisi C. Ezeluomba, Curator of African Art at the Virginia Museum of Fine Art and an expert in Benin Bronzes, about the artistic history of Benin City in current day Nigeria, the fate of the Benin Bronzes that dispersed around the world after the British invasion and looting of Benin Kingdom in 1897, and how we should think about ownership and possession of these valuable objects today.   Notes for this episode: https://artlawpodcast.com/2025/01/13/who-should-control-the-benin-bronzes/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast Katie and Steve discuss topics based on news and magazine articles and court filings and not based on original research unless specifically noted.

In this episode, Investec senior wealth manager, Tristanne Farrell, brings Hannah O'Leary, Sotheby's Head of Modern and Contemporary African Art and Pule Taukobong a venture capitalist and avid art collector to gauge the pulse of the African art market. The conversation covers art trends, fairs, sourcing, pricing and diversity. We end by discussing what artists you should be paying attention to. 00:00: Intro 01:20: Introduction of guests 02:16: Is the African contemporary market's boom, about to bust? 05:59: Women are the best selling-African artists 08:37: Lack of diversity in art needs addressing 12:07: The importance of fairs to the art ecosystem 13:09: Young artists who came to the fore through the Investec Cape Town Art Fair 14:58: Reflecting on Frieze London and Emma Prempeh's show 19:59: Another African artist to watch: Pamela Phatsimo Sundstrum 22:02: African art becoming more tactile 26:24: Are record-high prices sustainable? 29:21: How to show proper support to artists: Example of Cinga Sampson 30:57: Where's the best place to source artwork? 31:47: Pule and Hannah tell us which artists are grabbing their attention right now 35:01: The overall health of the African market 36:40: Understanding the potential of the African art market 39:16: Closing and where to subscribe to the series Find out more about the Investec Cape Town Art Fair and buy tickets here: https://link.investec.com/n5va54 link.investec.com · Investec Focus Radio SA

Ceri speaks with Lady Skollie, a bold South African artist who fearlessly challenges artistic conventions. From her early days at a specialist art school to becoming an internationally acclaimed painter, Lady Skollie shares her journey as a modern day cave painter and gives her experiences of gallery relationships, motherhood, and maintaining artistic integrity. Her original perspectives on the art world, cultural identity, and creative authenticity make this the perfect episode for anyone interested in the intersection of art, culture, and personal truth. KEY TAKEAWAYS Lady Skollie maintains creative freedom by creating physical distance from city centres and setting clear boundaries with galleries, emphasising the importance of separation between artists and collectors. Her work is deeply rooted in her identity as a descendant of the indigenous people of South Africa, reimagining traditional cave paintings on a larger scale. Success in the art world for her, came through strategic support, including a partner who gave her two years to focus solely on art, leading to international gallery representation. Lady Skollie has found that physical fitness and consistent creative practice have been crucial elements for maintaining artistic productivity and mental well being. She challenges the modern trend of artist accessibility, advocating for maintaining mystery and separation between artists and collectors. Her perspective on showing work internationally reveals how art is received differently across cultures, particularly regarding themes of sexuality and cultural identity. She approaches commercial work by comparing potential earnings to what she could make painting, ensuring her time is valued appropriately. Lady Skollie also emphasises the importance of having freedom from financial pressure to maintain artistic integrity and make authentic work. BEST MOMENTS "I've always wanted to be an artist." "If you're going to go for white money, you should go for very old white money." "I'm not someone who draws all the time, but I consistently create... I constantly think about art." "I'm of the opinion if you're not based in a place like South Africa, it's really hard to understand what drives people here." "Sometimes pressure makes diamonds. But I think for me, it just makes lunacy. I need freedom." "Back in the day, I used to be known as the pawpaw and penis girl because I would just paint pawpaws and penises." "I consider myself a modern day cave painter." "If you don't like something, then just look away from it, but you cannot control how other people experience something." EPISODE RESOURCES Guest Links: Instagram: @LadySkollie PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Build Relationships The Easy WayOur self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/**** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative.

In this episode of the ArtTactic Podcast, Adam Green takes an in-depth look at the African art market, with a focus on the recently concluded 9th edition of Art x Lagos. Joining us is journalist Rebecca Anne Proctor, who attended this year's fair for the third time. We begin by exploring the history of Art x Lagos and its evolution over nearly a decade. Rebecca shares how this year's fair compared to previous editions and reflects on the broader trends shaping the African art market. The conversation delves into the surge of international interest in African art over the past few years, the challenges posed by market saturation, and how the art scene is navigating these shifts. We also discuss the vital role of a robust domestic ecosystem—supported by galleries, collectors, and curators—and how successful African artists are fostering growth through initiatives like residencies and local programs.

During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear: Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918) (Duke University Press, 2024), Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production. Anette Hoffmann received her Phd at the Amsterdam School for Cultural Analysis in 2005. From 2006 she has engaged with acoustic and audio-visual collections as part of the colonial archive. On the basis of her research and the practice of close listening in collaboration with translators and historians in/from Africa, she has developed an approach on sound recordings as alternative sources of colonial history and as a crucial part of histories of colonial knowledge production. Her engagement with sound archives has benefited immensely from working as a researcher at the Archive and Public Culture Research Initiative at the University of Cape Town (until 2014). Currently she is affiliated with the University of Cologne. Hoffmann is also an artist and a curator. Her exhibition What We See, which engaged with recordings from Namibia (1931) was first shown in the Slave Lodge in Cape Town in 2009 and was also shown in Namibia, Germany, Switzerland and Austria. A sound track based on the recording with Abdoulaye Niang was presented at the Theodore Monod Museum for African Art in Dakar, Senegal, in 2024. New work, based on silent movies from the Kalahari, on which she works with the video artist Jannik Franzen, engages with the companion species of German Colonialism in Namibia and will be shown in Vienna in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear: Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918) (Duke University Press, 2024), Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production. Anette Hoffmann received her Phd at the Amsterdam School for Cultural Analysis in 2005. From 2006 she has engaged with acoustic and audio-visual collections as part of the colonial archive. On the basis of her research and the practice of close listening in collaboration with translators and historians in/from Africa, she has developed an approach on sound recordings as alternative sources of colonial history and as a crucial part of histories of colonial knowledge production. Her engagement with sound archives has benefited immensely from working as a researcher at the Archive and Public Culture Research Initiative at the University of Cape Town (until 2014). Currently she is affiliated with the University of Cologne. Hoffmann is also an artist and a curator. Her exhibition What We See, which engaged with recordings from Namibia (1931) was first shown in the Slave Lodge in Cape Town in 2009 and was also shown in Namibia, Germany, Switzerland and Austria. A sound track based on the recording with Abdoulaye Niang was presented at the Theodore Monod Museum for African Art in Dakar, Senegal, in 2024. New work, based on silent movies from the Kalahari, on which she works with the video artist Jannik Franzen, engages with the companion species of German Colonialism in Namibia and will be shown in Vienna in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear: Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918) (Duke University Press, 2024), Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production. Anette Hoffmann received her Phd at the Amsterdam School for Cultural Analysis in 2005. From 2006 she has engaged with acoustic and audio-visual collections as part of the colonial archive. On the basis of her research and the practice of close listening in collaboration with translators and historians in/from Africa, she has developed an approach on sound recordings as alternative sources of colonial history and as a crucial part of histories of colonial knowledge production. Her engagement with sound archives has benefited immensely from working as a researcher at the Archive and Public Culture Research Initiative at the University of Cape Town (until 2014). Currently she is affiliated with the University of Cologne. Hoffmann is also an artist and a curator. Her exhibition What We See, which engaged with recordings from Namibia (1931) was first shown in the Slave Lodge in Cape Town in 2009 and was also shown in Namibia, Germany, Switzerland and Austria. A sound track based on the recording with Abdoulaye Niang was presented at the Theodore Monod Museum for African Art in Dakar, Senegal, in 2024. New work, based on silent movies from the Kalahari, on which she works with the video artist Jannik Franzen, engages with the companion species of German Colonialism in Namibia and will be shown in Vienna in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear: Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918) (Duke University Press, 2024), Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production. Anette Hoffmann received her Phd at the Amsterdam School for Cultural Analysis in 2005. From 2006 she has engaged with acoustic and audio-visual collections as part of the colonial archive. On the basis of her research and the practice of close listening in collaboration with translators and historians in/from Africa, she has developed an approach on sound recordings as alternative sources of colonial history and as a crucial part of histories of colonial knowledge production. Her engagement with sound archives has benefited immensely from working as a researcher at the Archive and Public Culture Research Initiative at the University of Cape Town (until 2014). Currently she is affiliated with the University of Cologne. Hoffmann is also an artist and a curator. Her exhibition What We See, which engaged with recordings from Namibia (1931) was first shown in the Slave Lodge in Cape Town in 2009 and was also shown in Namibia, Germany, Switzerland and Austria. A sound track based on the recording with Abdoulaye Niang was presented at the Theodore Monod Museum for African Art in Dakar, Senegal, in 2024. New work, based on silent movies from the Kalahari, on which she works with the video artist Jannik Franzen, engages with the companion species of German Colonialism in Namibia and will be shown in Vienna in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear: Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918) (Duke University Press, 2024), Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production. Anette Hoffmann received her Phd at the Amsterdam School for Cultural Analysis in 2005. From 2006 she has engaged with acoustic and audio-visual collections as part of the colonial archive. On the basis of her research and the practice of close listening in collaboration with translators and historians in/from Africa, she has developed an approach on sound recordings as alternative sources of colonial history and as a crucial part of histories of colonial knowledge production. Her engagement with sound archives has benefited immensely from working as a researcher at the Archive and Public Culture Research Initiative at the University of Cape Town (until 2014). Currently she is affiliated with the University of Cologne. Hoffmann is also an artist and a curator. Her exhibition What We See, which engaged with recordings from Namibia (1931) was first shown in the Slave Lodge in Cape Town in 2009 and was also shown in Namibia, Germany, Switzerland and Austria. A sound track based on the recording with Abdoulaye Niang was presented at the Theodore Monod Museum for African Art in Dakar, Senegal, in 2024. New work, based on silent movies from the Kalahari, on which she works with the video artist Jannik Franzen, engages with the companion species of German Colonialism in Namibia and will be shown in Vienna in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear: Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918) (Duke University Press, 2024), Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production. Anette Hoffmann received her Phd at the Amsterdam School for Cultural Analysis in 2005. From 2006 she has engaged with acoustic and audio-visual collections as part of the colonial archive. On the basis of her research and the practice of close listening in collaboration with translators and historians in/from Africa, she has developed an approach on sound recordings as alternative sources of colonial history and as a crucial part of histories of colonial knowledge production. Her engagement with sound archives has benefited immensely from working as a researcher at the Archive and Public Culture Research Initiative at the University of Cape Town (until 2014). Currently she is affiliated with the University of Cologne. Hoffmann is also an artist and a curator. Her exhibition What We See, which engaged with recordings from Namibia (1931) was first shown in the Slave Lodge in Cape Town in 2009 and was also shown in Namibia, Germany, Switzerland and Austria. A sound track based on the recording with Abdoulaye Niang was presented at the Theodore Monod Museum for African Art in Dakar, Senegal, in 2024. New work, based on silent movies from the Kalahari, on which she works with the video artist Jannik Franzen, engages with the companion species of German Colonialism in Namibia and will be shown in Vienna in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Our host, Adrian Ellis speaks to Ore Disu, Director of The Institute, Museum of West African Art (MOWAA) on the mission and vision of MOWAA and how the institution is thinking about culture, museum praxis and the very idea of “The Museum” differently and within the African context.External references:MOWAA website: https://wearemowaa.org/Museum of West African Art Announces the Opening of the MOWAA Institute: https://wearemowaa.org/mowaa-institute-launch-announcement/The National Commission for Museums and Monuments (NCMM): https://museum.ng/Igun Street: https://en.wikipedia.org/wiki/Igun_StreetBenin Bronzes: https://en.wikipedia.org/wiki/Benin_Bronzes Guest bio:Ore Disu has led the MOWAA Institute since January 2022 as its first Director, bringing to it more than a decade of experience in cultural programming, research, and stakeholder management for early-stage organizations. Educated at the University of Cambridge (BA in Architecture) and University College London (MSc in Urban Development Planning), she has implemented grants and contributed to the efforts of non-profit organizations including the Ford Foundation, Goethe Institute, Institute for Liberty and Democracy, Overseas Development Institute, Heinrich Böll Foundation, and the Africa Centre for Cities. From 2016 through 2019, she served in the UK's Department for International Development as Senior Research Partnerships Manager for the agency's governance and accountability program in Nigeria. She subsequently moved to a multi-national social enterprise, serving as the Government Relations and Partnerships Lead for pilot programs in Uganda, India, and Nigeria. She has been active as a consultant as the founding Executive Director of Nsibidi Institute in Lagos, Nigeria, and as an Associate of the UK-based firm The Policy Practice.

Omo Bello is an acclaimed French-Nigerian operatic soprano , and in this episode we are focussing on her newly-released album “African Art Song” on Somm recordings with pianist Rebeca Omordia. Many of you heard my episode this past summer with pianist and curator of the African Concert Series, Rebeca Omordia, and I'll be linking that episode below for you.   Omo talked to me about overcoming shyness and stage fright,  her childhood and university years in Lagos, Nigeria, and some of her mentors including Grace Bumbry and Thomas Quasthoff.  I was fascinated to gain insights from her life as an opera singer, and to learn about many of the composers from Africa and the African diaspora featured on this wonderful album, including Ayo Bankole, Fred Onovwerosuoke,  Ishaya Yaron, Chirstian Onyeji and Shirley Thompson .   Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website:  https://www.leahroseman.com/episodes/omo-bello Episode with Rebeca Omordia: https://www.leahroseman.com/episodes/rebeca-omordia-african-pianism African Art Song album: https://somm-recordings.com/recording/african-art-song/ Omo Bello website: http://www.omobello.com/about.html Omo Bello instagram: https://www.instagram.com/omo_bello Merch store to support this series: https://www.leahroseman.com/beautiful-shirts-and-more Buy me a coffee? https://ko-fi.com/leahroseman Newsletter sign-up: https://mailchi.mp/ebed4a237788/podcast-newsletter Catalog of Episodes: https://www.leahroseman.com/about Linktree Social Media: https://linktr.ee/leahroseman photo: Vincent Pontet Timestamps: (00:00) Intro (02:53) African Art Song album with Rebeca Omordia (09:12) Ayo Bankole (10:40) Ayo Banko's Adura fun Alafia Prayer for Peace (14:22) Ayo Bankole (17:00) Omo's childhood and university years in Lagos (32:22) Fred Onovwerosuoke, cultural context to interpret this music (39:13)  excerpt of “Ngulu” by Fred Onovwerosuoke  (40:11) the voice as instrument (44:49) other episodes you may like, and different ways to support this series (45:33) Grace Bumbry (53:44) Shirley Thompson (58:15) excerpt from  Shirley Thompson's "Psalm to Windrush” (59:44) Omo Bello Music Foundation in Nigeria (01:07:47) Ishaya Yarison (01:10:26) excerpt from Ishaya Yarison's Ku zo, mu raira waƙa  (01:11:54) Christian Onyegi, African Art Song album themes (01:15:34) Giri Giri by Christian Onyegi (01:17:31) percussionist Richard Olatunde Baker on the album, transmitting oral tradition of the music (01:20:46) challenges in music education in France (01:28:17) Thomas Quastoff, Des Knaben Wunderhorn album (01:34:21) challenges and joys of an opera singer

Welcome back to season four of the MKE Tech Podcast! In this special Wisconsin Tech Month edition, we sit down with Kenji Adams, a project manager turned entrepreneur and founder of innovative community programs like STEAM & Dream. Kenji shares her inspiring journey from corporate tech at Northwestern Mutual to launching her own business, all while diving deeper into the tech world and embracing her role as a woman in tech. In this episode, Kenji takes us through her latest project—a unique blend of African art and artificial intelligence. As part of Wisconsin Tech Month, Kenji is hosting an incredible event that bridges the past and future by using AI to generate new artwork from historical African artifacts. We dive into how AI can help fill historical gaps, address cultural erasure, and spark thought-provoking conversations about identity and heritage. Kenji also shares how collaboration and self-awareness have been key to her success in navigating the tech space. Tune in for this enriching conversation about creativity, tech, and community building, and learn more about how Kenji's event will challenge perceptions of both art and AI. Call to Action:Join us on October 17th at the Uplifting Mansion for Kenji Adams' AI and African Art exhibit during Wisconsin Tech Month! Explore the intersections of history and technology, engage in generative conversations using AI prompts, and witness real-time digital renderings of historical artifacts. Follow us on social media for event updates and more Wisconsin Tech Month highlights.

Examining functional art throughoutAfrican culture and exploring it throughmeaning and interpretation.

Ep.202 Adebunmi Gbadebo (b. 1992 in Livingston, NJ) is a multidisciplinary artist working with paper, ceramics, sound, and film, exploring Gbadebo explores the archival record of her family's ancestry. Through her research, material selection, and technical process, the artist emphasizes the prejudice of the historical record, activating her practice to restore Black subjectivity. She received a BFA from the School of Visual Art, New York. In 2023, she was the recipient of the Maxwell and Hanrahan Craft Fellowship and the Keynote speaker for the American Ceramic Circle annual conference. In 2022, she was a Pew Fellow at the Pew Center for Arts & Heritage. Gbadebo is currently an Artist in Residence at The Clay Studio and has exhibited across the US and internationally in Africa, Europe, Asia and Australia. Her work is now on view in major exhibitions such as the 24th Sydney Biennale: Ten Thousand Suns; Minneapolis Museum of Art: Collage/Assemblage Part II: 1990-Now; and Hear Me Now: The Black Potters of Old Edgefield, South Carolina, which opened at the Metropolitan Museum of Art, New York, in 2022, and has traveled to the Museum of Fine Arts Boston, University of Michigan Museum of Art, and is now at the High Museum of Art in Atlanta. Gbadebo's work is in the public collections of the Smithsonian National Museum of African Art, Washington, D.C.; Smithsonian National Museum of African American History and Culture, Washington D.C.; Boston Museum of Fine Arts, Boston, MA; Minnesota Museum of American Art, St. Paul, MN; Minneapolis Institute of Art, Minneapolis MN; Weisman Museum of Art, Minneapolis, MN; Newark Museum of Art, Newark, NJ; and South Carolina State Museum, Columbia, SC. Her public commissions include an ongoing sculpture project in collaboration with students and faculty from Clemson University, SC, and the Harriet Tubman Monument (2021), Newark, NJ. Photo Credit:Tobias Truvillion Articles ● Past Present Projects Magazine: Past Present No. 4 ● The Pew Center For Arts and Heritage: Fellow to Fellow: Adebunmi Gbadebo and Odili Donald Odita on Meaning in Materiality ● WHYY: Philly artist wins $100K craft prize for her work remembering Black ancestors ● PBS: Treasures of New Jersey ● Penn Today: Ritual and Remembrance ● The Boston Globe At the MFA, enslaved Black potters' work brings lives into the light in ‘Hear Me Now' ● The Post and Courier At the Met, in Harlem and beyond, acclaimed artist honors enslaved SC ancestors ● Forbes, Haunting Generational Trauma In “Remains” By Adebunmi Gbadebo At Claire Oliver Gallery In Harlem ● Brooklyn Rail, Abstraction in the Black Diaspora ● New York Times, Critic's Pick: The Magnificent Poem Jars of David Drake, Center Stage at the Met ● New York Times, New Shows That Widen the Beaten Path

Chief Executive Officer of the Asase Yaa Entertainment Group, Kofi Osei Williams, joined Lurie to discuss African dance, music and culture!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Guest: Caroline Greyling | Marketing and Communications co-ordinator for the Norval FoundationSee omnystudio.com/listener for privacy information.

Dans l'entretien avec l'activiste Pascale Obolo on parle de son engagement d'écrire une histoire de l'art plus inclusive qui traverse tous ses projets professionnels : la revue d'art Afrikadaa et les deux foires African Art Book fair et Missread. On revient sur ses débuts dans le hip-hop dans les années 90 et son passage des mots aux images via des clips musicaux. Elle aborde l'évolution de la représentation des corps noirs dans la photographie et de l'importance « d'encourager les jeunes issus des minorités d'écrire leurs récits avec leurs points de vus, car l'histoire a été écrite à leurs places ». Bonne écoute !1'15 – « Je me définis avant tout comme une activiste »2'45 – Ses débuts dans le milieu hip-hop dans les années 9010'20 – Le passage des mots vers l'image en mouvement via le clip.16'30 – La genèse d'Afrikadaa et ses évolutions22' – La création et les projets de l'African Art Book Fair 30 – La foire Missread : son rôle dans ce salon et les projets des dernières éditions.47- La représentation des corps noirs dans la photographie.50'50 – Son activation de l'exposition de la photographe Zanele Muholi à la MEP avec Marie Docher.56'40 – Ses conseils pour les photographes et les éditeursSite d'Afrikadaa : http://www.afrikadaa.com/Site d'African Art Book Fair : https://africanartbookfair.com/Site de Missread : https://missread.com/Pour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto et retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Episode 104 with Charles Shima, who is the founder and CEO of ZaNiheza, a booking software and afrocentric travel marketplace for immersive experiences that connect travelers with local curators.ZaNiheza provides immersive tours and activities that enhance travelers' experiences when they visit African destinations. Their proprietary booking software makes it possible for travel suppliers to create, manage, and offer tours and activities online.What We Discuss With Charles ShimaWhat specific gap in the African travel market were you aiming to address, especially in the context of African travel experiences?Can you give us reasons why it is important to develop tourism in Africa?Africa is experiencing increased interest globally in areas such as tourism. What more can be done to sustain this tourism growth?Could you elaborate on how empowering local travel curators and promoting unique cultural experiences contribute to economic growth in the regions you operate? How is the increasing presence of young African travel bloggers and content creators, including individuals like yourself, influencing the African travel and tourism industry?Full show notes and resources can be found here: Unlocking Africa show notesDid you miss my previous episode where I discuss African Art on the Global Stage. The Growth and Evolution of African Art with Touria El Glaoui? Make sure to check it out!Like this show? Please leave us a review here -- even one sentence helps!Connect with Terser on LinkedIn at TerserAdamu, and Twitter @TerserAdamuConnect with Charles on LinkedIn at Charles Shima, and Twitter @shima_charlesSupport the showDo you want to do business in Africa? Explore the vast business opportunities in African markets and increase your success with ETK Group. Connect with us at www.etkgroup.co.uk or reach out via email at info@etkgroup.co.uk

Episode 103 with Touria El Glaoui, who is the Founding Director of 1-54 Contemporary African Art Fair, which is the leading international art fair dedicated to contemporary art from Africa and its diaspora, has annual editions in London, New York, and Marrakech.Founded in 2013 by Touria El Glaoui, 1-54 is the first and only international fair dedicated to contemporary African art. With three editions per year—in London, New York, and Marrakech—as well as a pop-up fair in Paris, 1-54 is the leading global art fair committed to providing visibility to contemporary art from Africa and its diaspora.Striving to promote a community of diverse perspectives, including evolving interpretations of the diasporic experience, 1-54 features leading international galleries specialising in contemporary African art alongside artist talks, panel discussions, and a Special Projects programme.What We Discuss With Touria El GlaouiHow does 1-54 bridge the gap between African artists and the global art market?What are some of the challenges faced by artists from Africa and its diaspora in the contemporary art world?How has the perception of African art evolved in the Western world during the ten years 1-54 has been active?What does the growing global demand for African art currently look like?Does the growing global demand for African art stem from a passion for African art or the perception of it as an investable asset class?Full show notes and resources can be found here: Unlocking Africa show notesDid you miss my previous episode where I discuss Beyond Charity and Changing Narratives. Understanding the Layers of African Philanthropy with Dr Keratiloe Mogotsi? Make sure to check it out!Like this show? Please leave us a review here -- even one sentence helps!Connect with Terser on LinkedIn at TerserAdamu, and Twitter @TerserAdamuConnect with  Touria on LinkedIn at Touria El Glaoui, and Twitter @154artfairSupport the showDo you want to do business in Africa? Explore the vast business opportunities in African markets and increase your success with ETK Group. Connect with us at www.etkgroup.co.uk or reach out via email at info@etkgroup.co.uk

Moira Geoffrion joins host Mark Sublette to talk about her show "Pods, Plants, and Parts."  The show has 144 new paintings of the botanical structures that can be found throughout the Sonoran desert.Opening with the artist is Friday, December 29 from 12 - 2 PM at Mark Sublette Medicine Man Gallery in Tucson, Arizona.View the Show Online:https://www.medicinemangallery.com/collections/december-20-2024

Buying handmade items is one of the best ways to share gifts over the holidays.  And in this episode, I talk with Anitra Terrell, owner of Reflektion Design, business that celebrates the beauty and authenticity of African art.  Anitra's journey into the world of African art and textiles began during her time as a Fulbright scholar in Ghana. Her passion for authentic African art and culture, rooted in her upbringing in culturally rich Philadelphia, eventually led her to create an online store that sells the handmade objects she finds through her many trips to Ghana, Burkina Faso, Kenya and Uganda.  Anitra's narrative is a testament to the transformative power of embracing one's heritage through handmade objects.http://www.slowstylehome.com/episodes/anitra-terrellTo learn all about this podcast and the Slow Style Framework, go to:www.slowstylehome.com The Style Matters podcast is now Slow Style Home! Click here for the latest episode.

In the final episode of the 2023 season, our host, Stephanie Fortunato, speaks with Basil Jones and Adrian Kohler, founders of Handspring Puppet Company, whose monumental works include War Horse and Little Amal. They discuss the role of puppetry in storytelling, building new audiences, activism and bridging connections between communities. The Three Bells podcast is produced by AEA Consulting for the Global Cultural Districts Network (GCDN). Sound mixing and theme music by Artwave Studio.External references: Handspring Puppet Company: https://www.handspringpuppet.com/ Handspring Puppet Company LinkedIn: https://www.linkedin.com/company/handspring-puppet-company/about/ War Horse: https://www.warhorseonstage.com/learning/puppets/ War Horse: https://en.wikipedia.org/wiki/War_Horse_(play) Life and Times of Michael K: http://www.quaternaire.org/handspring-puppet-co/life-and-times-michael-k The Walk (Little Amal): https://www.walkwithamal.org/about-us/little-amal-the-walk/ Little Amal: https://en.wikipedia.org/wiki/Little_Amal The Walk Productions (Little Amal) LinkedIn: https://www.linkedin.com/company/the-walk-productions-little-amal/ Bunraku: https://en.wikipedia.org/wiki/Bunraku Barrydale Giant Puppet Parade: https://barrydaleparade.wordpress.com/ The Walk, documentary by Tamara Kotevska: https://www.docnyc.net/film/the-walk/ Simon Sinacs Ted Talk – How Great Leaders Inspire Action: https://www.ted.com/talks/simon_sinek_how_great_leaders_inspire_action?language=en Bios:Basil Jones is the co-founder and Executive Producer of Handspring Puppet Company. Jones completed his BFA at UCT. In 1990, Jones set up a not for profit NGO Handspring Trust, which produced the award winning Spider's Place, an innovative, multi-media science education series for TV, radio an comic aimed at young learners from disadvantaged backgrounds. The Handspring Trust is involved in a number of projects in urban township and rural areas, using puppetry as a means to educate and empower youth and bring communities together through street parades and performance. He received the Naledi Executive Directors Award (2012), a lifetime achievement award from Tshwane University (2006) and an honorary doctorate in literature from UCT (2012). Adrian Kohler is the co-founder and Artistic Director of Handspring Puppet Company, and considered to be one of the world's leading masters of his medium. He gained a BA Fine Art at the University of Cape Town and then spent a year at The Space Theatre and another in Birmingham U.K. at the Canon Hill Arts Centre and Weld Community Arts Centre. Kohler then moved to Botswana to run the National Popular Theatre Programme for three years. He has had a solo retrospective at the National Gallery in South Africa, and groups of his works have been shown at The Barbican Art Gallery, London and The Museum for African Art, New York. Kohler received the Michaelis Prize, a lifetime achievement award from Tshwane University (2006) and an honorary doctorate in literature UCT (2012). Handspring Puppet CompanyFounded by Adrian Kohler and Basil Jones (with Jill Joubert and Jon Weinberg) in 1981, the Handspring Puppet Company continues to explore, innovate and push the boundaries of puppetry and contemporary performance. Deeply inspired by traditional puppetry – such as the Bunraku puppeteers of Japan and the Bamana puppeteers of Mali – Handspring fuses ancient craft, technical innovation and modern dramatic themes. Over four decades, the company has collaborated with world-renowned artists, directors, musicians, actors and theatre groups performing in 295 cities in 30 countries.

DeJuana L. Thompson is a political and social strategist providing innovative and sustainable engagement methods and models for candidates, campaigns, and community organizations. She is the current President and CEO of the Birmingham Civil Rights Institute, a 30 year old civil rights legacy organization. An affiliate of the Smithsonian Institution, the BCRI is a cultural and educational research center that promotes a comprehensive understanding of the significance of civil rights developments in Birmingham. DeJuana is also the founder of Woke Vote, an organization designed to engage, mobilize, and turnout African American voters in the South through campus and faith-based outreach, strategic media outreach, culturally relevant GOTV efforts and training for new organizers. Notably the program has engaged over 2M Black voters nationwide and has trained over 5K new leaders. DeJuana recently launched “Black Equity Strategies & Trust - A southern social impact firm specializing in engagement strategy, leadership development, rapid response initiatives, high-end logistics and curating premium cultural experiences. DeJuana served as the National Deputy Director for Community Engagement and the National African American Engagement Director for the Democratic National Committee. With a focus on intentionality, DeJuana worked with the DNC Black Caucus chair and national allied organizations on key strategies to engage the AFAM community both politically and socially. DeJuana also carried the faith portfolio at the DNC working to build bridges between principles of faith and principles of politics. As a presidential appointee, DeJuana was appointed by the Obama/Biden Administration in 2015 to serve as a Senior Advisor in the U.S. Small Business Administration (SBA). Within SBA's Office of Public Engagement, she worked to ensure the SBA's national and local stakeholders are fully comprised of the programs and resources offered by the SBA with a special emphasis on implementing strategic and systemic opportunities to increase access to lending and resources for minority and underserved communities. DeJuana is a veteran political consultant, campaign manager and operative, and a former Hill staffer. Prior to joining the Obama Administration, she worked as an independent political strategist providing guidance to candidates for public office in Trinidad and Tobago, Alabama, Tennessee and partnering with entities to produce successful public programs. Perhaps her most notable having consulted for the Smithsonian National Museum of African Art coordinating the International Tribute honoring the life of Dr. Chinua Achebe. Notably, she served as the Program and Logistics Coordinator, Citizens Advisory Board Liaison for the Birmingham City Council from 2005 - 2010 providing program and logistical support to the 9-member council body and providing strategy and assistance to the Citizens Advisory Board composed of 99 neighborhood presidents and 23 community presidents. This is where she formalized her niche for engagement politics. DeJuana received a B.A. in Speech Communication from Berea College, a Master's Certificate in Effective Project Management and is completing her capstone toward her Master's Degree from the George Washington University Graduate School of Political Management. DeJuana's depth of experience is well acknowledged and applauded. She is the recipient of several honors including being recognized by Elle, Glamour and BET a s one of the top Black female leaders in 2020, being named one of the AL Women Who Shape the State in 2019, one of the Top Young Professionals in the State of Alabama in 2015, recipient of the 2013 Outstanding Alumnus Award from Berea College, awarded a Key to the City of Birmingham in 2010, bestowed honor as a Kentucky Colonel in 2008 and receiving the Coretta Scott King Leadership Award for leadership in 2007.

A Brooklyn Museum exhibition showcases iconic designers such as Kofi Ansah and Shade Thomas-Fahm in an exploration of African fashions from the 1950's to today. Ernestine White-Mifetu, Sills Foundation Curator of African Art, and Annissa Malvoisin, Bard Graduate Center / Brooklyn Museum Postdoctoral Fellow in the Arts of Africa join us to discuss the show, Africa Fashion which is on display through October 22. This segment is guest-hosted by David Furst.

Joyce Pomeroy Schwartz is a curator, lecturer and public art consultant with a unique concentration in public art policy, modern and contemporary art for architecture and the landscape in the broader context of cultural, urban and environmental revitalization.  In 1968-1971 she founded “The Photographer's Gallery,” the first gallery in New York City exhibiting photography as fine art. She was Director of Commissions at Pace Gallery in New York from 1972-1982, implementing public sculpture projects with Pace artists. In 1982 Joyce founded “Works of Art for Public Spaces, Ltd.”, dedicated to working with American and International artists creating major works of Art for Architecture. She is also one of the founding board members of ARTTABLE. She recently established the Harold and Joyce Pomeroy Schwartz “Archives of Public Art” at the Fales Special Collections/NYU Bobst Library, of artists' monographs, photographs and papers available for public art historical research. It now includes the archives of the Public Art fund and Creative Time. In July 2023, Joyce released her book: “The Private Eye in Public Art”, published by Oro Editions. On this episode of The One Way Ticket Show, Joyce shares her one way ticket to 25 years into the future to know what her two great-granddaughters are doing then. During the course of our conversation, Joyce also reflects on: ·     Her lifelong love of art – particularly Native American and African Art - stemming from her visits as a young girl in the late 1930s to the Brooklyn Museum, the Met and MOMA (which she used to ride to solo via the subway) ·     Visiting the 1939 World's Fair and the futuristic GM pavilion ·     The general role art plays in questioning and opening ones mind ·     The role of public art and how it moved beyond sticks & stones to the art of ideas and place-making ·     How public art shapes a space rather than fills it and how it provides a common cultural cue ·     How from the very start, Chicago got public art projects right ·     Collaborating with groundbreaking artists including: Louise Nevelson, Tony Smith, David von Schlegell and Isamu Noguchi ·     Creating the Irish Hunger Memorial in New York City ·     Arshile Gorky's lost (then found!) murals at Newark Airport ·     Why artists are the only narcissists she'll ever forgive.

Sarah Clunis is the Curator of African Collections at the Peabody Museum at Harvard University. Dr. Clunis has taught art history for over twenty years at public universities and historically Black colleges and universities. Her research and classes have focused on the history of African art and the display of African objects in Western museum settings.    Host: David Sherrin Learn about him at davidsherrin.com or @david_writer.sherrin on Instagram

Mvemba is joined by Eric Kuikende-Banshona, a Provenance Researcher at the National Museum of the Democratic Republic of Congo. They highlight the importance of restituting African artifacts to move past European colonial history in Africa. They also urge African political leaders to focus on Africa's cultural richness and collaborate with Western leaders to restore the history and cultures of the African people. They highlight the obligation of Western museums and private art collectors not to hide African artifacts but instead work with African provenance experts to write the authentic narratives of the artwork to preserve the meanings and knowledge they carry. 

Over the past four decades, this episode's guest, Cynthia Winton-Henry, and the worldwide community, she and her collaborator, Phil Porter, have helped to grow, have sparked a reconvening of the pre-historic circle of dance and song, and story that animated and nurtured the nascent human community. For more inspiring change maker stories also check out the Change the Story CollectionBIOCynthia Winton-Henry, M.Div, co-founded InterPlay (www.interplay.org) with Phil Porter in 1989. They mentor teachers around the world in best practices to build community and unlock the wisdom of the body using movement, story, stillness, and voice. Cynthia hosts weekly Online Dance Chapels at the Hidden Monastery at www.cynthiawinton-henry.com and teaches the initiations needed by gifted and sensitive bodies using her Self-Care Playbook in the Art of Ensoulment. She's taught at Holy Names University's Sophia Center and the University of Creation Spirituality in Oakland, and at Pacific School of Religion in Berkeley, where she received the Distinguished Alumni Award. Her books include Move: What the Body Wants by Woodlake Press, Chasing the Dance of Life published by Apocryphile Press and Dance: A Sacred Art by Skylight Press, and wrote the concluding essay "Grace Operatives: How Body Wisdom Changed the World" in Phenomonlogies of Grace edited by Marcus Bussey and Camilla Mozzini.Notable MentionsInterplay: InterPlay is an active, creative way to unlock the wisdom of the bodyPhil Porter: Phil is one of the founders of InterPlay. He is a teacher, performer, writer, and organizer. With Cynthia Winton-Henry he is the co-founder of WING IT! Performance Ensemble, and has written several books, some in collaboration with Cynthia, including Having It All: Body, Mind, Heart & Spirit Together Again at Last and The Slightly Mad Rantings of a Body Intellectual Part One. Phil is particularly interested in the use of InterPlay in organizational life and believes that InterPlay can be a powerful tool to create communities of diversity and peace.African Art in Motion: The exhibition was based on a concept of Robert Farris Thompson, associate professor of art history at Yale University, that African art can only be understood through a grasp of African dance and ritual and in the special language of body motion: implied, arrested, or expressed. TRuth St. Dennis: was an American pioneer of modern dance, introducing eastern ideas into the art and paving the way for other women in dance. She was inspired by the Delsarte advocate Genevieve Stebbins. St. Denis was the co-founder in 1915 of the American Denishawn...

Travel guru Rick Steves stops by for our series, “ATL Up and Away.” This month the beloved PBS host discusses how to avoid scams and theft while traveling overseas. Plus, artist Carol Santos takes the spotlight in our series, “Speaking of Art,” and Lauren Tate Baeza, the High Museum's Curator of African Art details their new exhibition, “Ancient Nubia: Art of the 25th Dynasty.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today Group 582 will be delving into research on African art as a form of functional art.

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Lauren Tate Baeza is the curator of African Art at the High Museum in Atlanta and recently curated an amazing exhibition featuring the work of African printmaker, Bruce Onobrakpeya. We got Lauren on the show today to talk about the exhibition (you know your boy JB loves the prints!), the approach to contemporary African art, Bruce Onobrakpeya's long storied career, judging art and all types of topics. Lauren has a brilliant thought process and is here to enlighten us all about the wonder “transitions” in the art world. Listen, subscribe, and share!Episode 172 topics include:Bruce Onobrakpeya's work and career“The Mask and the Cross” exhibition at the High MuseumCatholic church's influence on Nigerian arttelling a story with an exhibitiondesigning an exhibitionartists embracing mistakestechnical printmaking unlocking masteryexoticizing African art2022 Hudgens PrizeLauren Tate Baeza joined the High Museum of Art in November 2020 as the Fred and Rita Richman Curator of African Art. Baeza oversees the African art collection of more than one thousand objects, including extraordinary examples of masks and sculpture, exceptionally fine textiles, beadwork, metalwork, and ceramics. Prior to joining the High, Baeza served as director of exhibitions at the National Center for Civil and Human Rights from 2018 to 2020. During her tenure there, Baeza maintained the Center's two ongoing installations in its American Civil Rights Movement and Global Human Rights Movement galleries and organized sixteen temporary exhibitions and installations, including Fragments, a collaboration with celebrated designer Paula Scher, featuring passages from Dr. King's handwritten speeches and letters.Concurrent with her position at the National Center for Civil and Human Rights, Baeza also curated the Morehouse College Martin Luther King Jr. Collection, featuring approximately ten thousand items, and managed the James Allen and John Littlefield Collection. Previously, she served as executive director of the APEX Museum in Atlanta, which interprets, presents, and celebrates Black history.Baeza holds a Master of Arts in African studies from the University of California, Los Angeles; a Bachelor of Arts in Africana studies with a cultural studies concentration from California State University, Northridge; and a certification in curatorial studies from Sotheby's Institute of Art.See more: Lauren Tate Baeza at The High Museum + Lauren Tate Beaza IG @elletatebaeza Presented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Ep. 154 features Eto Otitigbe. He recovers buried narratives and gives form to the unseen. He is a polymedia artist whose interdisciplinary practice includes sculpture, performance, installation, and public art. His public art intersects history, community, and biophilic design by using parametric modeling and generative design to transform historical and cultural references into biomorphic forms. Otitigbe's public works include temporary installations in Socrates Sculpture Park (Queens, NY) and Randall's Island Park (New York, NY). His current public commissions include: Peaceful Journey (Mt. Vernon, NY, 2022); Cascode (Philadelphia, PA); Emanativ (Harlem, NY); Invasive Species (Philadelphia, PA). He was a member of the Design Team for the Memorial to Enslaved Laborers at UVA (Charlottesville, VA) where he contributed to the creative expression on the memorial's exterior surface. Otitigbe's work has been in solo and group exhibitions that include 2013 Bronx Calling: The Second AIM Biennial, organized by the Bronx Museum and Wave Hill; Abandoned Orchestra, Sound Sculpture installation and performance with Zane Rodulfo, Guggenheim Museum, New York, NY; The Golden Hour, Oakland Cemetery, Atlanta, GA, curated by Oshun D. Layne; and Bronx: Africa, Longwood Gallery, Bronx, NY, curated by Atim Oton and Leronn P. Brooks. Otitigbe's fellowships and awards include the CEC Artslink Project Award for travel and cultural projects in Egypt and the Smithsonian Artist Research Fellowship at the National Museum of African Art where he explored the intersection of Urhobo language and historical objects. His curatorial projects include directing the es ORO Gallery in Jersey City, NJ (2007-09) and co-curating, alongside Amanda Kerdahi, the Topophilia Exhibition in Nees, Denmark (2017) as part of the ET4U Meetings Festival in Denmark. He is the founder of eo Studio, which received the Creative Capital Grant in 2023 for the project Tankugbe Incubation Lab. He is an Assistant Professor of Sculpture in the Art Department at Brooklyn College. He received a B.S. in Mechanical Engineering from MIT, an M.S. in Product Design from Stanford University (M.S.) and an MFA in Creative Practice from the University of Plymouth. Photo credit: Anthony Artis Artist https://www.etootitigbe.com/ Cascode https://www.dashboard.us/cascode Transart Institute https://www.transartinstitute.org/people/eto-otitigbe Brooklyn Botanic Garden https://www.bbg.org/feature/birdhouses/eto_otitigbe Surface Magazine https://www.surfacemag.com/articles/eto-otitigbe-morton-fine-art-materiel-remains/ Morton Fine art https://www.mortonfineart.com/artist/eto-otitigbe Creative Capital https://creative-capital.org/artists/eo-studio-tankugbe-incubation-lab/eto-otitigbe/ Brooklyn. Cuny http://www.brooklyn.cuny.edu/web/academics/schools/mediaarts/undergraduate/art/faculty_details.php?faculty=1372 Slippage https://slippage.org/eto-otitigbe Arts Westchester https://artswestchester.org/art-matters/artist-eto-otitigbe-wins-sculpture-commission-in-mount-vernon/

REUNITED AND IT FEELS SO GOOD!!!! Quanice sits down with her podcast bestie Joshua Henry Jenkins @joshjenks (formerly of the Art Accordingly Podcast) for a convo to discuss underpaid nonprofit employees, creating an arts administration greenbook, and rest.Links: The Smithsonian's National Museum of African Art is looking for a new director - again: https://www.theartnewspaper.com/2023/05/09/smithsonian-national-museum-african-art-ngaire-blankenberg-resignedBehind the Red Tape: Struggles are Real for Nonprofit Workers: https://www.cbsnews.com/newyork/news/behind-the-red-tape-struggles-are-real-for-underpaid-nonprofit-workers/?fbclid=IwAR1A6OdTKLVSojK8rwk99SWbxYAdt5DTskCIoYEDNzvOC9fJc_gkkykoEEASupport the show

Under Touria El Glaoui's guidance, the 1-54 Contemporary African Art Fair has become a flagship event in the art world, providing a platform for emerging and established artists from Africa and the diaspora to showcase their work. The fair has been held in major cities around the world, including London, Marrakech and New York, and has attracted a diverse audience of art enthusiasts, collectors, and curators.Touria's visionary mindset extends far beyond the art world. Ahead of the latest New York edition of 1-54, Danielle Radojcin talks to her about pressing global issues such as restitution and climate change, highlighting the crucial role art plays in driving conversations and inspiring positive change. 

Karabo Morule is the founder of Capital Art, which is an art fintech and the first art collection management service that is focused on collectors of modern and contemporary African art. Morule is also a non-executive director at TymeBank, South Africa's first bank to have its core banking system in the cloud. In this conversation with Stanford adjunct lecturer Vimbayi Kajese, Morule discusses the African art market, including the ways it's been shaped by injustice and the opportunities it presents for cultural preservation and celebrating marginalized artists. Through her company's technology, she is creating a more inclusive African art ecosystem by encouraging people of many income levels to view themselves as collectors.

In this episode of The Truth In This Art, Rob Lee interviews Kip Omolade, a talented mixed media artist famous for his marvelous futuristic portraits inspired by his Nigerian heritage who's career began as a graffiti artist while interning at Marvel Comics, and they discuss his career, inspirations and much more.  About the guestBorn in Harlem, NY Kip Omolade began his art career as a graffiti artist while interning at Marvel Comics and The Center for African Art. He continued his studies at The Art Students League of New York and earned a BFA at the School of Visual Arts.His work has been exhibited at Opera Gallery, Jonathan LeVine Projects, Joseph Gross Gallery and Art Basel Miami. Good Morning America, Huffington Post, Juxtapoz and Hi-Fructose have also featured his work. Special projects include ESPN, Red Bull, Nike, 2 Chainz, The Versace Mansion, Fantasia Barrino and Sony Music. Kip Omolade's work is in the permanent collections of Viacom and Hallmark Cards. ★ Support this podcast ★

Welcome to our ICONversations, a series where you will hear iconic Black feminist anthropologists answer five questions about their intellectual projects and growth, what their work has meant to them, and the imprints they want to leave on the world. In this episode, Brendane and Alyssa speak (and cry!) with Dr. Johnnetta Betsch Cole, a Black feminist anthropologist who has practiced within and beyond the academy. We loved how she saw the vision of our questions and how she stands firmly and powerfully in her lanes while putting joy and passion first. In her words: "Joy is a human right." Dr. Cole was the first Black woman president of Spelman College, served as director of the Smithsonian's National Museum of African Art, and continues to follow her passion through activism and scholarship. If you enjoyed this episode, please let us know by sharing it on social media! Tag us @zorasdaughters on Instagram and @zoras_daughters on Twitter. Find Dr. Cole on Instagram at @johnnettabcole and Johnnetta B. Cole on Facebook.

A Clubhouse collaboration between Pod Break and Naija Pod Bub

Episode #49 with Obi Asika, who is well-known throughout the world for his contributions to Africa's creative industries, entertainment, events, social media, music, and sports. As a result, he has showcased his unique skills as an executive producer on several television shows, including but not limited to Big Brother Nigeria, Doctor's Quarters, Dragons Den Nigeria, The Apprentice Africa, Calabar Rocks, Etisalat One Million Dollar Show, 100% Naija, and Naija Sings.Among other things, Obi is a convener at the Africa Soft Power Project, a member of the board of the Nigerian Olympic Committee, and the co-founder of Social Media Week LagosWhat We Discuss With Obi AsikaAre you surprised by the success of Nigerian music so far?Is it safe to say that Nigerian music, film, and culture are the continents most important exports right now, and do you believe we are fully leveraging their power to propel Africa forward?What does the term "soft power" mean to you?How can Africa strategically use the soft power of its creative, cultural, and knowledge industries?You are also a member of the Nigerian Olympic Committee's Board of Trustees. How did this happen, and what are the board's priorities in terms of supporting Nigerian competitors?And much more...Full show notes and resources can be found here: Unlocking Africa show notesDid you miss my previous episode where I discuss The Boom in African Art. African Artists and Innovative Platforms Shaking up the Global Art Scene with Onyinye Anyaegbu? Make sure to check it out!Like this show? Please leave us a review here -- even one sentence helps!Connect with Terser on LinkedIn at TerserAdamu, and Twitter @TerserAdamuConnect with Obi on LinkedIn at ObiAsika, and Twitter @obiasikaSupport the showDo you want to do business in Africa? Explore the vast business opportunities in African markets and increase your success with ETK Group. Connect with us at www.etkgroup.co.uk or reach out via email at info@etkgroup.co.uk

Episode #48 with Onyinye Anyaegbu, Executive Director of ARTSPLIT, which is an art trading technology company driven by one common goal; enhancing the investment status of African art by allowing users to co-own rare and valuable artworks on a platform that guarantees price discovery and market liquidity.Their mission is to position African art & artists as the preferred alternative investment choice by developing the African art ecosystem through technology and co-ownership.What We Discuss With Onyinye AnyaegbuWhat would you say about the current state of African art?What are the key distinctions between the new and old African art worlds?Do you think African art is fairly valued?How do you value art in general—and African art in particular—from your point of view?What, in your opinion, has sparked or driven the recent huge surge in interest in African art?And much more...Full show notes and resources can be found here: Unlocking Africa show notesDid you miss my previous episode where I discuss Using Intelligence and Analysis to Identify True Risks, Trends, and Business Opportunities in Africa with Robert Besseling? Make sure to check it out!Like this show? Please leave us a review here -- even one sentence helps!Connect with Terser on LinkedIn at TerserAdamu, and Twitter @TerserAdamuConnect with Onyinye on LinkedIn at OnyinyeAnyaegbu, and Twitter @ArtsplitglobalSupport the showDo you want to do business in Africa? Explore the vast business opportunities in African markets and increase your success with ETK Group. Connect with us at www.etkgroup.co.uk or reach out via email at info@etkgroup.co.uk

We're so used to narratives out of Africa being about war, poverty and devastation, says TED Fellow Wanuri Kahiu. Where's the fun? Introducing "AfroBubbleGum" -- African art that's vibrant, lighthearted and without a political agenda. Rethink the value of all that is unserious as Kahiu explains why we need art that captures the full range of human experiences to tell the stories of Africa.

We're so used to narratives out of Africa being about war, poverty and devastation, says TED Fellow Wanuri Kahiu. Where's the fun? Introducing "AfroBubbleGum" -- African art that's vibrant, lighthearted and without a political agenda. Rethink the value of all that is unserious as Kahiu explains why we need art that captures the full range of human experiences to tell the stories of Africa. Hosted on Acast. See acast.com/privacy for more information.

THG interviews Cedric Umoja.  Cedric is a Columbia-based multidisciplinary artist and poet who seeks to implement alchemical change through the use of letter forms and archetypal totems. He bridges the ancient and the future in his drawings, paintings, murals, sculptures, film and installation work. Cedric was drawn to art at an early age with hip-hop comic books being his biggest influence. His work features elements of Graffiti, comic sequential art, Japanese Manga, Modern and African Art.Make sure to subscribe to us on Spotify, Apple Podcasts, and Google Podcasts. Also follow us on Instagram and Facebook @hilltopglove. Sponsored by: Red Rooster Sports Bar & Grill, Law Office of Sean Wilson, Mid Carolina Service Co., and TruBrilliance Ent.

Episode No. 546 of The Modern Art Notes Podcast features curators Natalie Dupêcher and Laura de Becker.  Along with Anne Umland and Nina Zimmer, Dupêcher is the co-curator of "Meret Oppenheim: My Exhibition," a retrospective that spans the Swiss artists' 1930s work in Paris, her engagements with surrealism, and her broad post-war synthesis of nouveau réalisme, pop, abstraction and addresses of nature. The exhibition is at the Menil Collection, Houston, through September 18 before traveling to the Museum of Modern Art, New York. It debuted at the Kunstmuseum Bern last fall. (The Kunstmuseum Bern created a "digitorial" for the exhibition.) "Oppenheim" is accompanied by a catalogue published by MoMA. Indiebound and Amazon offer it for $27-45. de Becker is the curator of "Wish You Were Here: African Art and Restitution" at the University of Michigan Museum of Art. The exhibition takes a unique approach to an examination of eleven objects from the museum's African collection: instead of researching their provenances' relationship to the era of colonization in private, the museum is conducting its research into those objects publicly and in near-real time via a gallery exhibition. Both the exhibition and the website UMMA has launched for the project are models of transparency. de Becker is UMMA's curator for African art and interim chief curator. She is assisted in the project by Timnet Gedar, Bridget Grier, Caitlyn Webster and Ozi Uduma. 

Kianga Art webpage, instragram, facebookReginald LewisLaVerne Hall, Holiday Festival of Black DollsCrowationsInternational Black Doll Show and Sale, PhiladelphiaFaith RinggoldGee's Bend QuiltersRead Until You Understand; the Profound Wisdom of Black Life and Literature, Farah Jasmine GriffinWalter Dean MyersOf Water and The Spirit, Maliodoma Patrice Some Palm Beach Culture Council Artist Innovator FellowshipGwendolyn Aqui-Brooks, Mixed Media ArtistLauren Austin, Fiber Art and Art QuiltsChristena Cleveland, God Is a Black WomanKevin Quashie, Black Aliveness, or A Poetics of BeingThe Sovereignty of Quiet: Beyond Resistance in Black CultureThe Nap MinistryBlackWomenStitch Instagram, homepage, Patreon