Podcast appearances and mentions of Alisha B Wormsley

Ep.211 Justine Ludwig currently serves as the Executive Director of Creative Time. Recent curated exhibitions include Nadia Kaabi-Linke: Walk the Line, Pia Camil: Bara, Bara, Bara, Pedro Reyes: For Future Reference, and Laercio Redondo: What ends every day. Her research interests include architecture, economics, and the aesthetics of globalization. Ludwig has an MA in Global Arts from Goldsmiths University of London and a BA in Art with a concentration in Art History from Colby College.  Photo credit ~ Scott Ludwig Justine Ludwig http://www.justineludwig.com/ Creative Time https://creativetime.org/about/staff/justine-ludwig/                        http://creativetime.org/givetoday/ Public Art Project commissioned by Creative Time *Dream with us! Submit your dreams to Cosmologyscape https://cosmologyscape.com/,* a public art project that unfolds as we rest by artists Alisha B Wormsley and Kite. The Observer  https://observer.com/2024/08/justine-ludwig-interview-creative-times-public-art/ Flaunt https://www.flaunt.com/blog/q-amp-a-with-new-yorks-most-stylish-curator Wikipedia https://en.m.wikipedia.org/wiki/Justine_Ludwig Space 538 https://space538.org/people/board-of-directors/justine-ludwig/ Solondias https://solondais.fr/2024/08/22/news297154/interview-with-justine-ludwig-executive-director-of-creative-time/

In this episode of Broken Boxes Podcast we hear from Tsedaye Makonnen, a multidisciplinary artist, curator, researcher and cultural producer. Tsedaye's practice is driven by Black feminist theory, firsthand site-specific research, and ethical social practice techniques, which become solo and collaborative site sensitive performances, objects, installations, and films. In our conversation Tsedaye shares with us about her experiences in building and sustaining her art practice which focuses primarily on intersectional feminism, reproductive health and migration. She shares how her personal history as a mother, the daughter of Ethiopian refugees, a doula and a sanctuary builder nourish and guide her creative expression. “I am Building worlds that have not existed yet, for myself and for others. I want to be as expansive and imaginative as possible - to me that is freedom.” - Tsedaye Makonnen Music: Tew Ante Sew by GIGI Broken Boxes opening song by India Sky Artist Website: https://www.tsedaye.com Photograph of Tsedaye Makonnen taken by performance artist Ayana Evan Tsedaye Makonnen is a multidisciplinary artist, curator, researcher and cultural producer. Tsedaye's practice is driven by Black feminist theory, firsthand site-specific research, and ethical social practice techniques, which become solo and collaborative site sensitive performances, objects, installations, and films. Her studio primarily focuses on intersectional feminism, reproductive health and migration. Tsedaye's personal history is as a mother, the daughter of Ethiopian refugees, a doula and a sanctuary builder. In 2019 she was the recipient of a Smithsonian Artist Research Fellowship. In 2021 her light sculptures were acquired by the Smithsonian NMAFA for their permanent collection, she has also exhibited these light sculptures at the National Gallery of Art and UNTITLED Art Fair. In 2023, she will be showing these light installations in traveling exhibitions at the Metropolitan Museum of Art, Bard Graduate Center and the Walters Art Museum. She is the current recipient of the large-scale Landmark Public Art Commission for Providence, RI where she will create a permanent installation of her renowned light sculptures. In the Fall 2022 she performed at the Venice Biennale for Simone Leigh's ‘Loophole of Retreat' and was the Clark Art Institute's Futures Fellow. In 2021 she published a book with Washington Project for the Arts titled ‘Black Women as/and the Living Archive' based on Alisha B. Wormsley's ‘Children of Nan'. In 2021, she exhibited at Photoville & NYU's Tisch, the Walters Art Museum as a Sondheim Prize Finalist, CFHill gallery in Stockholm, Sweden and 1:54 in London. In 2022 she exhibited at Artspace New Haven in CT and The Mattress Factory and much more. Other exhibitions include Park Avenue Armory, National Museum of Women in the Arts, Art Dubai, and more. She has performed at the Venice Biennale, Art Basel Miami, Art on the Vine (Martha's Vineyard), Chale Wote Street Art Festival (Ghana), El Museo del Barrio, Fendika Cultural Center (Ethiopia), Festival International d'Art Performance (Martinique), Queens Museum, the Smithsonian's, The Momentary and more. Her work has been featured in Artsy, NYTimes, Vogue, BOMB, Hyperallergic, American Quarterly, Gagosian Quarterly and Transition Magazine. She is represented by Addis Fine Art and currently lives between DC and London.

Beginnen möchten wir den Podcast zu Ehren des Black History Year in Dortmund mit zwei Organisationen, die sich in Dortmund als Schwarze Menschen für die Schwarze Kultur des Ruhrgebiets stark machen: Africa Positive e.V. und das curl.collective. Hierfür spricht die freie Journalistin Olga Felker im ersten Teil der Folge mit der Gründerin des Magazins Africa Positive Veye Tatah und der dort engagierten Sozialarbeiterin Patience Atanga Vekalah über die Akzeptanz des Magazins in der Mehrheitsgesellschaft, ihre Wahrnehmung von Rassismus über die Jahre und welches Bild sie sich von Afrika und Schwarzen Menschen in Deutschland wünschen würden. Im zweiten Teil der Folge kommt Janinka Okoye zu Wort, die sich mit dem curl.collective dafür engagiert, dass Schwarze Künstlerinnen mehr Sichtbarkeit bekommen. Sie erzählt davon, wie wichtig Safer Spaces für das Erforschen der eigenen Identität sind und warum es gerade Schwarzen Künstlerinnen so schwer fällt, sich als eben solche zu bezeichnen. Black History Year Dortmund Jedes Jahr wird im Februar der „Black History Month“ gefeiert, in dem Schwarze Menschen, ihre Geschichten und Kämpfe zelebriert werden. Dieser Monat soll unter anderem dazu dienen, die Mehrheitsgesellschaft für Schwarzes Leben zu sensibilisieren. Doch warum nur einen Monat dafür aufwenden und dann in den Business as usual Modus verfallen? Das dachten sich auch einige Dortmunder Kunst- und Kulturbetriebe und riefen mit dem Zitat „There are black people in the future“ von Alisha B. Wormsley das Black History Year in Dortmund aus. Innerhalb eines Jahres (Februar 2021- Februar 2022) erhalten zwölf Schwarze Künstlerinnen und Akteurinnen eine Plattform in der Stadt, um ihre Produkte zu zeigen, performen oder ausstellen zu können. Das Netzwerk besteht aus dem Schauspielhaus Dortmund, dem Internationalen Frauenfilmfestival Dortmund|Köln, Dietrich Keuning Haus, Dortmunder Kunstverein sowie den Kulturbetrieben Dortmund. Africa Positive In der deutschen Berichterstattung werden die Länder Afrikas seit Jahrzehnten meistens durch stereotype Geschichten von Krieg, Hunger, Flüchtlingen, Armut oder Krankheiten erzählt. Dabei gibt es von diesem facettenreichen Kontinent eine Vielzahl von Geschichten und Realitäten zu erzählen, die von den weißen europäischen Narrativen abweichen. Genau diese Geschichten erzählt das Magazin „Africa Positive“, das 1998 von der Kamerunerin Veye Tatah gegründet wurde und auf einer afrikanisch-deutschen Zusammenarbeit beruht. https://www.africa-positive.de/ curl.collective Das curl.collective ist eine Online Plattform für BIPoC (Black, Indigenous, People of Color) Künstlerinnen in Dortmund, das nicht nur die Sichtbarkeit von BIPoC Künstlerinnen erhöhen möchte, sondern mit dem Projekt #SOME unter anderem die Möglichkeit bietet, offline Netzwerke zu bilden und ein kollektives Wandbild in der Dortmunder Nordstadt anzubringen. Mit diesem Wandbild will das Kollektiv das vorherrschende Bild der Nordstadt ändern, denn bisher prangt dort das Graffiti eines Gorillas mit der Zeile „Welcome to the jungle“. In Anbetracht rassistischer Degradierungen von Schwarzen Menschen als Affen – dass ihnen ihr Menschsein abgesprochen werden sollte – ist das Bild höchst problematisch. Musik: Kalakuta Soul Radio Philippos Sîpano & The MPC Orchestra - Tesîye De Bi Lûr Lûr

Following a year like no other, stepping into a future of unknowns, the time to envision liberation is now. In this episode, we speak with vocalist and violinist Sudan Archives who spins the ideas and sounds of afrofuturism into her work, as well as co-editors of the book Black Futures, Kimberly Drew and Jenna Wortham. We track the evolution of afrofuturism from outer space to inner space in a dynamic playlist, and discuss how music has helped us create the world we want to inhabit. / Show Notes /For the playlist of songs curated for this episode visit https://bit.ly/oos-afrofutirism.Kimberly Drew and Jenna Wortham's book Black Futures is available now from One World.Alisha B. Wormsley's billboard, There Are Black People In The Future,Jenna referenced books by the author Ytasha Womack,The instrument Sudan played is called the goje,Jamila Woods album is  LEGACY! LEGACY!/ Credits / Object of Sound is a Sonos show produced by work x work: Scott Newman, Jemma Brown, Babette Thomas. The show is additionally produced by Hanif Abdurraqib. Our engineers are Sam Bair and Josh Hahn of The Relic Room.

Neema Barnette presents BHMD Podcast hosted by Whole Body Literacy & Education (WHBLE) founder, Ah-Keisha McCants. Her guest is Alisha B. Wormsley, an interdisciplinary artist and cultural producer based in Pittsburgh PA.Her work is about collective memory and the synchronicity of time, specifically through the stories of women of color. She states her work is "the future, and the past, and the present, simultaneously. Wormsley has an MFA in Film and Video from Bard College and was awarded the Postdoctoral Research fellowship in art at Carnegie Mellon University.

Alisha B. Wormsley is an interdisciplinary artist and cultural producer based in Pittsburgh, PA, USA. Her work is about collective memory and the synchronicity of time, specifically through the stories of women of color. She states her work is "the future, and the past, and the present, simultaneously. Wormsley has an MFA in Film and Video from Bard College and was awarded the Postdoctoral Research fellowship in art at Carnegie Mellon University. She and Zuckerman discuss motherhood, artist moms, and how to help; matriarchal mystery spaces, reciprocity and agreements, and the release found in spirituality. This episode is brought to you by Kelly Klee private insurance. Please check out their website: Kellyklee.com/Heidi and they will make a $50 donation to Artadia, an art charity I’ve recommended, per each qualified referral. This episode is brought to you by Best & Co. Please visit www.BestandCoAspen.com and use discount code Heidi2020 or use the link https://bestandcoaspen.com/discount/HEIDI2020 to receive 5% off of any item on the Best & Co. website. If you are interested in creating a custom piece please email custom@bestandcoaspen.com and mention that you heard about Best & Co. on my podcast to receive the special discount. Interested in sponsoring the podcast? Please email press@hiz.art *** If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. Follow Heidi: Instagram: https://www.instagram.com/heidizuckerman/ Twitter: https://twitter.com/heidizuckerman LinkedIn: https://www.linkedin.com/in/heidi-zuckerman-a236b55/

For the inaugural episode in our new series on Space, Place, and Mobility, re:verb co-producer Sophie Wodzak sits down with Alisha B. Wormsley, a Pittsburgh-based interdisciplinary artist and cultural producer. Wormsley's work bridges public art, social engagement, science fiction, and political activism to reveal forgotten histories and imagine alternative futures. Through innovative public works like the There Are Black People in the Future billboard (which we discussed back in Episode 6), The People are the Light, and her current project, the Sibyls Shrine Residency Program, Wormsley uses her art to engage a diverse array of audiences in exploring the beauty and rich history of black communities in Pittsburgh.In this interview, Sophie talks with Alisha about her past and present work and the ways that it plays with concepts of space and place to help us critically interrogate our notions of belonging and community. They also discuss the self-transformative power of traditionally-marginalized knowledges such as black witchcraft, and how such practices are being revived in contemporary art and culture as modes of empowerment.Links to Alisha Wormsley's Work:https://alishabwormsley.com/projectshttps://alishabwormsley.com/public-workshttps://alishabwormsley.com/filmhttps://alishabwormsley.com/exhibitionshttps://alishabwormsley.com/buy-arthttps://www.pghcitypaper.com/pittsburgh/alisha-b-wormsley-and-ricardo-iamuuri-robinson-take-multimedia-installation-streaming-space-to-market-square/Content?oid=14709509https://www.wesa.fm/post/there-are-black-people-future-resident-artists-present-their-projects#stream/0

On this week's episode, our guests speak with us about how two distinct locations – featuring two billboards – in the city of Pittsburgh played remarkable roles in social movements and controversies over urban spaces. In our first conversation, we speak with Derek Handley (recent Carnegie Mellon Rhetoric PhD. graduate and soon-to-be faculty at Lehigh University) about his study of “Freedom Corner” in Pittsburgh's Hill District, and how it functioned as a location and a resource for arguments against urban renewal practices in that neighborhood. Then, we talk to Liana Maneese, a social practice artist and entrepreneur with The Good Peoples Group, about a recent controversy in the neighborhood of East Liberty over a billboard whose text read: “There are black people in the future.”Through these conversations, we explore how contestations over places play out in urban communities, as well as the linkages between African American social movements, language, and the ownership of space.Cover image: The original billboard located at Freedom Corner, circa 1960 (Image source), and Alisha Wormsley's "There will be black people in the future" installment at "The Last Billboard."Works & Concepts Cited in this Episode:Endres, D., & Senda-Cook, S. (2011). Location matters: The rhetoric of place in protest. Quarterly Journal of Speech, 97(3), 257-282.https://nca.tandfonline.com/doi/abs/10.1080/00335630.2011.585167Handley, Derek G. (forthcoming). “The line drawn”: Freedom corner and rhetorics of place in Pittsburgh, 1960s-2000s. Rhetoric Review.Toni Morrison's Nobel Lecture, in which she states “Oppressive language does more than represent violence; it is violence”:https://www.nobelprize.org/nobel_prizes/literature/laureates/1993/morrison-lecture.htmlWhitaker, Mark. (2018). Smoketown: The untold story of the other great black renaissance. New York, NY: Simon & Schuster.http://www.simonandschuster.com/books/Smoketown/Mark-Whitaker/9781501122392Wilson, Kirt. (2002). The reconstruction desegregation debate: The politics of equality and the rhetoric of place. East Lansing, MI: Michigan State University Press.Alisha B. Wormsley's “There Are Black People in the Future” Project:http://www.alishabwormsley.com/there-are-black-people-in-the-future/Young, Vershawn A. (2007). Your average nigga: Performing race, literacy, and masculinity. Detroit, MI: Wayne State University Press.Check out Liana Maneese's company The Good Peoples Group here: http://thegoodpeoplesgroup.com/Also, check out some of the details about her Adopting Identity project here: https://www.indiegogo.com/projects/adopting-identity-lies-luck-and-legitimacy#/