Podcast appearances and mentions of alisha wormsley

August Wilson grew up practically next door to the park that now bears his name. And from August Wilson Park, you can experience one of the most spectacular views in the entire city and see art from Alisha Wormsley and Teenie Harris. This is the first park project to be based on the Greenprint for the Hill District, by Walter Hood Design Studio. The Greenprint's aim is to reconnect Hill District residents to their unique landscape and the neighborhood to the city as a whole. Ultimately, it envisions the Hill as a ‘Village in the Woods' above the Allegheny and Monongahela rivers. The idea was to make the landscape of the Hill work better for the people who live there, in the ways they already use it. And to communicate that the Hill is a good and decent place, with good and decent people.  Read the full Greenprint for the Hill District. Learn more about August Wilson Park. 

Cyberpunk 2077 is nigh and goodbye to being social! Shoutout to Mike Pondsmith and CD Projekt Red for ruining so many relationships and making so many people broke at the end of 2020. Who knew Cyberpunk 2077 was a self-fulfilling prophecy? This episode I sit down with Gail D Taylor and talk about the fate of Black people, from Jim Crow, to Alisha Wormsley, to the zombie apocalypse according to Duane Jones. We chat about afrofuturism and how morphogenic fields continue to guide Black traditions, new and old, like an invisible hand of the ancestors. Check out Gail's work on IG at @prettykittypublishing or the many projects she has going on at https://linktr.ee/prettykittypublishing. Want to support WIB?P? Subscribing always helps: Apple Podcast, Spotify, Google Podcasts. Follow and rate us 5 stars; we might even shout you out and answer your question if you leave one in the review. Don't forget to spread the love with your friends, and even your enemies: whatisblackpodcast.com. And if you're feeling generous, donate/buy us a coffee to keep things going at ko-fi.com/whatisblackpodcast. We on IG at @whatisblackpodcast, follow us.

Original Air Date: Dec 28, 2016 “That's the basis of everything I do. Comes from that basic idea that we have this memory , this collective memory that does not exist within a linear time period.” - Alisha Wormsley Artist, Anthropologist, Sci-Fi Geek --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ruggedangel-cast/support

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/

Just days into the start of 2020, CityLab published an article analyzing which major American cities are the best, and the worst, for Black women residents. The report took into account a variety of metrics measuring "livability," and the consensus was that Midwestern metropolises including Pittsburgh, Cleveland, and Detroit were the among the most inhospitable in the nation. Despite the systemic sexism and racism reflected in the bleak findings, however, Black women artists within these same cities have been driving growth and change in their local art communities—often by rejecting conventional thinking about funding, institutions, and the market. In a recent piece for Artnet News, journalist Melissa Smith spoke to some of these trailblazing Black women artists about their histories, triumphs, and continuing challenges living and working in the Midwest. On this week's episode, Smith joins Andrew Goldstein to discuss these issues, primarily through the lens of Pittsburgh-based artists Alisha Wormsley and Vanessa German. By navigating around (or outright ignoring) philanthropic systems all but designed to exclude them, leveraging crowdfunding platforms and grassroots networks, and developing alternate forms of patronage based on a more community-centric role for art, their approaches speak volumes about the possibilities and pitfalls of a different kind of art world.

Just days into the start of 2020, CityLab published an article analyzing which major American cities are the best, and the worst, for Black women residents. The report took into account a variety of metrics measuring "livability," and the consensus was that Midwestern metropolises including Pittsburgh, Cleveland, and Detroit were the among the most inhospitable in the nation. Despite the systemic sexism and racism reflected in the bleak findings, however, Black women artists within these same cities have been driving growth and change in their local art communities—often by rejecting conventional thinking about funding, institutions, and the market. In a recent piece for Artnet News, journalist Melissa Smith spoke to some of these trailblazing Black women artists about their histories, triumphs, and continuing challenges living and working in the Midwest. On this week's episode, Smith joins Andrew Goldstein to discuss these issues, primarily through the lens of Pittsburgh-based artists Alisha Wormsley and Vanessa German. By navigating around (or outright ignoring) philanthropic systems all but designed to exclude them, leveraging crowdfunding platforms and grassroots networks, and developing alternate forms of patronage based on a more community-centric role for art, their approaches speak volumes about the possibilities and pitfalls of a different kind of art world.

On today's show, Justin is sharing an episode of one of his favorite art podcasts, Seeing Color, hosted by artist Zhiwan Cheung. In this episode, he interviews Pittsburg-based artist Alisha Wormsley about her text-based work “There Are Black People In The Future.” Listen in to this insightful conversation originally aired in late 2018 on SeeingColorPod.com.  Show notes: Seeing Color Podcast Episode 2: There Are Black People In The Future (with Alisha Wormsley) Zhiwan Cheung Alisha Wormsley The Art People Podcast is edited and produced by Justin Favela (@favyfav). Production assistance from Mindy Hale and music by Mike McDonald.  Follow us on social media @artpeoplepod and visit artpeoplepod.com for more episodes. 

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

“THERE ARE BLACK PEOPLE IN THE FUTURE," in cut-out white letters on the black background of a steel billboard, stood high above Pittsburgh’s rapidly changing East Liberty neighborhood last spring – and brought national acclaim to interdisciplinary artist and cultural producer Alisha Wormsley.   But that science fiction-inspired contribution to The Last Billboard art project – and the controversy its removal sparked – is but one brush stroke in an artistic career that has spanned nearly two decades and numerous continents.   “I don’t consider myself an activist,” Alisha says, “but my art is active.” It is indeed active – and vibrant – weaving family history, an archeologist’s sensibility, and a love of sci-fi into photographic, film, mural, performance and multi-dimensional works of art.   Learn how a Zora Neale Hurston book about the religious experience of post-emancipation African Americans, her brother’s Marvel comic obsession, and “The Walking Dead” AMC television show have all influenced the smart, moving, beautiful, and absolutely vital art of Alisha Wormsley.     “We Can Be” is hosted by The Heinz Endowments President Grant Oliphant, and produced by the Endowments and Treehouse Media. Theme music by Josh Slifkin; incidental music by Giuseppe Capolupo. Guest image by Josh Franzos. Billboard image: thelastbillboard.com

On this episode, I spoke with Njaimeh Njie, a photographer, filmmaker, and multimedia producer. Njaimeh grew up in Pittsburgh before heading to Washington University in St. Louis to earn a B.A. in Film and Media studies. Njaimeh describes her primary focus as documenting the everyday experiences of groups whose experiences are misrepresented and erased. She recently won the Pittsburgh Center for the Arts’ Emerging Artist award and has her own video production company, Eleven Stanley Productions. I first saw Njaimeh’s Power(ed) by Grace videos and reached out to learn more about her and her work. We talk about abstraction, Spike Lee’s Blackkklansman, and thinking about how to exist in white spaces. This interview is short and sweet, so I hope you enjoy it. Links Mentioned: Njaimeh’s Website Njaimeh’s Instagram Eleven Stanley Productions Njaimeh’s group show at Future Tenant Most Wanted Fine Art Advancing Black Arts in Pittsburgh Njaimeh’s Power(ed) by Grace videos Gordon Parks Teenie Harris Lorna Simpson Carrie Mae Weems More about Alisha Wormsley’s text in my interview with her Audre Lorde’s wonderful quote Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

CMU School of Art faculty Alisha Wormsley and Jon Rubin talk about the Last Billboard and the text that sparked public controversy in Pittsburgh. http://miller-ica.cmu.edu music: Pittsburgh Modular

On this episode, I sit down with Alisha Wormsley, an artist based in Pittsburgh who creates photos, sculpture, sound, and time-based work based on collective memory and the synchronicity of time periods. I first came to know of Alisha through her Homewood Residency program, but more recently Alisha gained attention for one of her text-based work. To give a bit of background, Alisha was invited to exhibit a text for The Last Billboard, a project founded by the artist Jon Rubin who offered a rotating cast of artists a chance to present text on a billboard. The billboard resides in East Liberty, a quickly gentrifying neighborhood with new neighbors that include Google and freshly constructed apartment complexes and condos. Alisha presented the text, “There Are Black People In The Future.” People from the neighborhood complained and the property’s landlord removed the text. I’ve attached a Hyperallergic link on the SeeingColor website with more information. I caught up with Alisha right after she finished teaching a class and we get into the origins of the text, her decision to go to grad school, and future plans. The sound quality isn’t the best, so I must apologize for that. I hope you still enjoy this. Links Mentioned: Alisha's Website Alisha's Instagram *Hyperallergic Article on Alisha's Billboard Afrofuturism: The World of Black Sci-Fi and Fantasy Culture by Ytasha L. Womack Kwobo Ashume: Further Considerations on Afrofuturism Quick History of Conflict Kitchen Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

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#/

Episode 4: Justin Strong "Are there black people in the future?" This is a question that came with intense backlash from an controversy that surrounded Alisha Wormsley's artwork. Justin Strong sits down with Hoon about his thoughts on this question & cultural appropriation, his former venture The Shadow Lounge where he featured acts like KRS-One and other artists before they became famous, to talk about his upbringing, and on the topic of entrepreneurship as an African American male. His thoughtful approach to his life is shaped by the ups and downs of his past, his beautiful daughter and fatherhood, and his grit. Filled with humor and insight, this episode features a different perspective from a disruptor who took a big chance 20 years go and continues to look for the right opportunity as he moves forward.

MODERATOR: Michael Wang PANELISTS: Diana Balmori, William O'Brien Jr, David Ruy, Allan Wexler, and Alisha Wormsley. In celebration of the closing of our collaborative exhibition, Architecturally.../works on architecture and space, we invited this distinguished group of architects, designers, professors and artists to discuss the works on view. artist: Ella Ben-Aharon, Edo Ceder, Molly Dilworth, Merav Ezer, Interboro: Tobias Armborst + Daniel D’Oca + Georgeen Theodore, Bess Krietemeyer, Alois Kronschlaeger, Matthias Neumann, Graham Parker, Adi Shniderman, Eirini + Dimitra Tsachrelia in collaboration with Yoichiro Mizuno and Jason Varone Architecturally... is a project by James Hendershot organized and conceived by Matthias Neumann and Alois Kronschlaeger presented by Hendershot Gallery.