Podcasts about California African American Museum

MHD and Co-Host Chavonne Taylor speak with Naima Keith, Vice President of Education and Public Programs at LACMA, about the important role of Black Art in LA History.Naima J. Keith is the Vice President of Education and Public Programs at LACMA. Within her role, she oversees all aspects of and sets the vision for LACMA's innovative and exhibition-driven educational programming that serves more than 650,000 community members annually.Prior to her position at LACMA, Keith was the Deputy Director and Chief Curator at the California African American Museum where she guided the curatorial and education departments as well as marketing and communications.Resourceswww.naimajkeith.comEpisode Spotify Playlist

Ep.242 Shaunté Gates (b. 1979) lives and works in Washington, D.C. He studied at Duke Ellington School of the Arts and Bowie State University. Early in his career, Gates trained in oil painting and portraiture. His past experience as a tattoo artist and television motion graphics editor caused a profound shift in his artistic practice. His recent work employs a multidisciplinary approach, layering photography, painting, and found text to create dreamlike landscapes that explore labyrinthine social constructs and the physical sites that house and perpetuate them. Echoing the aesthetics of paper theater, his compositions unfold like intricate stage sets, where layered imagery and shifting perspectives evoke a sense of constructed reality and theatrical illusion. Gates was a participating artist in the Smithsonian Institution's “Men of Change” four-year traveling exhibition spanning ten museums, including the International African American Museum in Charleston, SC, California African American Museum, Cincinnati Underground Railroad Museum and Washington State History Museum (2019-23). He has been awarded the Louis Comfort Tiffany Biennial Grant (2022) and residencies with The Nicholson Project (2023), The Kennedy Center (2019) and Washington Project for the Arts (2018; 2017). Gates has work in esteemed private collections and institutions such as the Studio Museum in Harlem and Munson, Utica, NY. He has completed many public art commissions including Transcending, a painting commemorating the 140th anniversary of Howard University School of Law.  Photo credit: Biko Gates Artist https://www.shauntegates.com/ Virginia Tech https://artscenter.vt.edu/exhibitions/shaunte-gates.html Sperone Westwater  https://www.speronewestwater.com/artists/shaunte-gates#tab:slideshow Marc Straus https://marcstraus.com/artists/98-shaunte-gates/ FAD Magazine https://fadmagazine.com/2025/03/03/marc-straus-gallery-now-represent-shaunte-gates/ Zidoun-Bossuyt https://zidoun-bossuyt.com/artists/shaunte-gates/ | https://zidoun-bossuyt.com/exhibitions/shaunte-gates-poppies-parachutes-iii-we-should-be-flying-by-now/ Smithsonian https://menofchange.si.edu/exhibit/artist-pairings/shaunte-gates/ The Roanoker  https://theroanoker.com/events/shaunt%C3%A9-gates-2025/ Phillips Collection https://www.phillipscollection.org/event/2024-08-25-collaging-shaunte-gates Brooklyn Rail https://brooklynrail.org/2023/10/artseen/Shaunt-Gates-In-Light-of-the-Hunt/ Culture Type https://www.culturetype.com/tag/shaunte-gates/ Washington Informer Bridge https://wibridgedc.com/the-transformative-power-of-found-objects-with-shaunte-gates/ RUSH Philanthropic https://rushphilanthropic.org/artist/shaunte-gates/

KVMR News correspondent April Glaser explores the history of Black life in rural California through the lens of a new exhibit Rood Administrative Center in Nevada City, entitled We Are Not Strangers Here. Glaser interviews Susan Anderson, history curator of the African American Museum of California, and Linda Jack of the Nevada County Historical Society about the history of slavery in California, rural Black family life in the state, and one prominent family of Grass Valley, The Sanks.We Are Not Strangers Here was made possible by a local partnership with the Nevada County Arts Council, Grass Valley-Nevada City Cultural District, the County of Nevada, Nevada County Historical Society and the Nevada County Historical Commission. The broader exhibit represents a collaboration between the California Institute for Rural Studies, Susan Anderson of the California African American Museum, the California Historical Society, Exhibit Envoy, and Dr. Caroline Collins from UC San Diego.

Ariel Dannielle comes back home to the Studio Noize podcast! We been following Ariel since she came on the single digit episodes of the Noize and we love how she has grown as an artist. If you've seen her work you know about her wonderful use of color, her complex compositions and her love of all things girly. She talks about her adventures in these art streets from LA to New York to Chicago and back to Atlanta. We get into her approach to painting and capturing moments, her obsession with painting food, her process of capturing these moments of womanhood/girlhood in her paintings. Its more of that good art talk that you love with one of our favorites. Listen, subscribe, and share!Episode 196 topics include:working on solo exhibitionsFeels Like Glitter show at UTA Atlantabeing obsessed with painting foodcapturing moments with friendsartistic influencesusing yourself as referencemaking in different waysexperiencing a residency in Moroccostudio space in Atlantarepresenting womanhood and girlhood in artAriel Dannielle (b. 1991) is an African-American painter born and raised in Atlanta, GA. She graduated from University of West Georgia, where she received a Bachelor of Fine Arts. Drawing directly from her life, Ariel creates large-scale paintings that depict the daily experiences of young Black women through her personal and playful lens. She believes in the importance of her artwork to provide a look into Black girlhood/womanhood that can be represented and understood. This acrylic archive has enabled her to explore aspects of the mundane, human vulnerability and sexuality. Influenced by Kerry James Marshall and Mickalene Thomas, Dannielle focuses on developing personal narratives within her portraits that challenge gender and racial stereotypes. By placing herself in the paintings, Dannielle welcomes the viewers to also participate in a process of introspection.Ariel's work has been showcased at the Venice Biennale 2024, California African American Museum, Monique Meloche Gallery, Soco Gallery, UTA Atlanta, Harvey B. Gantt Museum, Mint ATL, The Goat Farm, ZuCot Gallery, Dalton Gallery, Trio Contemporary Art Gallery, Sheetcake Gallery, and Perez Museum Miami. She was MOCA GA Working Artist Fellow of 2019-20 and an Artadia 2018 finalist. She also showcased her first mural with Living Walls x Adult Swim in Atlanta, Georgia in 2022. See more: Ariel Dannielle website + Ariel Dannielle IG @byaridannielleFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Ep.221 Shinique Smith. Known for her monumental fabric sculptures and abstract paintings of calligraphy and collage, Smith's personal histories and belongings intertwine with thoughts of the vast nature of ‘things' that we consume, cherish, gift, and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from textiles and explored concepts of ritual using breath, bunding and mark-making as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender, and place to suggest the possibility of new worlds. Born in Baltimore, MD, currently residing in Los Angeles, California, Smith has received awards and prizes from Joan Mitchell, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions including the 13th Bienal de Cuenca and 8th Busan Biennale; Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection, UnMonumental at the New Museum and Hauser + Wirth LA's Revolution in the Making. Smith's work has also been exhibited and collected by other prestigious institutions such as the Baltimore Museum of Art; Brooklyn Museum of Art; California African American Museum, Denver Art Museum, the Frist, Indianapolis Museum of Art at Newfields, Los Angeles County Museum of Art, Minneapolis Art Institute, MOMA PS1, Museum of Fine Arts, Boston, Musée d'art contemporain de Montréal, Nerman Museum of Contemporary Art, SCAD, the Ringling Museum of Art, the Whitney and the Guggenheim. Photo credit: Courtesy of the artist Artist https://www.shiniquesmith.com/ moniquemeloche https://www.moniquemeloche.com/artists/207-shinique-smith/biography/ https://www.moniquemeloche.com/exhibitions/218-collage-culture/press_release_text/ The Phillips Collection https://www.phillipscollection.org/event/2024-07-06-multiplicity The Ringling Museum https://www.ringling.org/event/shinique-smith-parade/ SRQ https://www.srqmagazine.com/srq-daily/2023-12-01/23073_The-Ringling-Presents-Shinique-Smith-Parade Hyperallergic https://hyperallergic.com/552240/meet-las-art-community-sharing-inspiration-with-people-of-color-has-always-been-a-priority-for-shinique-smith/ Centure for Maine Contemporary Art https://cmcanow.org/event/shinique-smith-continuous-poem/ Newfields https://discovernewfields.org/Shinique-Smith-Torque Guggenheim https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection Kemper Museum of Contemporary Art https://www.kemperart.org/program/artist-talk-shinique-smith Products | For Freedoms https://checkout.forfreedoms.com/products/by-the-light-2024 ICASF https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions See Great Art https://www.seegreatart.art/shinique-smith-artworks-displayed-with-european-masterpieces-at-ringling-museum/ Visit Indy https://www.visitindy.com/event/shinique-smith-torque/158358/ Guild Hall https://www.guildhall.org/events/ring-the-alarm-a-conversation-with-shinique-smith-renee-cox/ AWARE https://awarewomenartists.com/en/artiste/shinique-smith/ Flora Animalia https://floraanimalia.com/blogs/news/shinique-smith?srsltid=AfmBOorqjJTBqroKRSW96gcOjCXK374pQUKNseNnhQ1A0rZNtRrOdoaj

UCLA researchers are mapping the neighborhoods most impacted by extreme temperatures. A California bill wants to outlaw library review committees. The California African American Museum has a new exhibit “Black California Dreamin". Plus, more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com.Support the show: https://laist.com

On this episode, we are doing our first posthumous highlight honoring Charlotta Spears Bass, a pioneering African American journalist and civil rights activist, best known for her work with the California Eagle, one of the oldest and longest-running African American newspapers in the United States. For this conversation, we speak with historian and author Susan Anderson. Susan is  the History Curator and Program Manager at the California African American Museum here in Los Angeles, and a member of the editorial board of California History journal. Previously, she was Director of Collections, Library, Exhibitions and Programs at the California Historical Society in San Francisco, as well as Interim Chief Curator at the African American Museum & Library at Oakland, and Curator of Collecting Los Angeles at UCLA Library Special Collections. Susan was also featured on PBS's special on Charlotta Bass titled “Unladylike” and is the author of Nostalgia for a Trumpet: Poems of Memory and History. Resources:www.pbs.org/wnet/americanmasters/charlotta-spears-bass-first-black-woman-vp-nominee-epkd15/15441/www.nytimes.com/2024/02/07/us/california-black-history-month.htmlwww.heydaybooks.com/authors/susan-d-anderson/caamuseum.orgCommunity Announcements:Summer Night LightsJoin us from now to August 10th, every Thursday through Saturday, 6 PM to 11 PM, for a summer filled with fun, food, and festivities. for participating parks visit Instagram.com/mhdcd8Metro Mobility WalletApplications for Phase II of the Mobility Wallet are now open. This prepaid debit card allows recipients to use various transportation services, including Metro Bus, Metro Rail, Metro Micro, bikeshare, e-scooters, taxis, ride-hailing (Uber/Lyft), regional transport (Greyhound, Amtrak, FlixBus), and even bike shop purchases. Participants can receive up to $1800 to spend on these shared transportation options.For more information and to apply, visit metro.net/mobilitywallet1

Historian, curator, and author Alison Rose Jefferson takes Tavis inside her latest exhibit, Black California Dreamin': Claiming Space at America's Leisure Frontier, now showing at the California African American Museum.

Ep.204 Nina Chanel Abney (b. 1982, Harvey, IL) has been honored with solo exhibitions at the Savannah College of Art and Design, Georgia (2023); the Museum of Contemporary Art, Cleveland (2023); the Institute of Contemporary Art, Miami (2022); the Gordon Parks Foundation, Pleasantville, New York (2022;traveled to Henry Art Gallery, Seattle); the Institute of Contemporary Art, Boston (2019–21); Palais de Tokyo, Paris (2018); and the Contemporary Dayton, Ohio (2021). Additionally, her solo exhibition at the Nasher Museum of Art, Duke University, Durham, North Carolina (2017), toured to the Chicago Cultural Center; Institute of Contemporary Art, Los Angeles, and the California African American Museum, Los Angeles; and the Neuberger Museum of Art, Purchase College, State University of New York. Abney was recently commissioned to transform Lincoln Center's new David Geffen Hall façade in New York, drawing from the cultural heritage of the neighborhood previously known as San Juan hill that comprised African American, Afro-Caribbean, and Puerto Rican families. Abney's recent public mural at the Miami World Center was similarly inspired by Overtown, a historic Black neighborhood in Miami. Abney's work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Modern Art, New York; the Brooklyn Museum, New York; the Bronx Museum, New York; the Dallas Museum of Art, Texas; the Rubell Family Collection, Florida; the Nasher Museum of Art, North Carolina; and the Pennsylvania Academy of the Fine Arts; amongst others.  Photo credit: Jesper Damsgaard Lund  Artist https://ninachanel.com/ Jack Shainman https://jackshainman.com/ Chronogram  https://www.chronogram.com/hv-towns/review-nina-chanel-abneys-lie-doggo-at-jack-shainman-gallerys-the-school-20807734 Blockonomi  https://blockonomi.com/super-punk-world-nfts-face-backlash-over-focus-on-race-and-gender/ Cultured Mag https://www.culturedmag.com/article/2024/05/16/nina-chanel-abney-jack-shainman-upstate-show Air Jordan 3 Collaboration https://ninachanel.com/news/10-closer-look-at-nina-chanel-abney-s-air-jordan/ nft now https://nftnow.com/art/cryptopunks-debut-artist-residency-program-with-nina-chanel-abney/ NYTimes https://www.nytimes.com/2024/02/18/arts/design/abney-bey-fordjour-simmons-harlem-renaissance-met.html The Cut https://www.thecut.com/2023/11/where-nina-chanel-abney-gets-her-custom-hats.html Surface Magazine https://www.surfacemag.com/articles/scad-museum-of-art-life-affirming-power-of-personhood-fall-2023-exhibitions/ Juxtapose https://www.juxtapoz.com/news/in-session/big-butch-energy-synergy-a-conversation-with-nina-chanel-abney/ W Magazine https://www.wmagazine.com/culture/nina-chanel-abney-exhibition-big-butch-energy-artist-interview Hyperallergic https://hyperallergic.com/767955/nina-chanel-abney-jacolby-satterwhite-david-geffen-hall-lincoln-center/

Through her wildly multicolored and multitextured interdisciplinary work, April Bey loves to explore speculative realms. For example, in a recent installation of hers, titled “Atlantica, the Gilda Region,” she invited the viewer to imagine they'd just landed as aliens on the faraway planet Atlantica, an opulent galactic wonderland full of Black and Brown bodies savoring luxury and leisure. First exhibited at the California African American Museum in Los Angeles, the show then traveled to the Nevada Museum of Art in Reno this past fall.Art Restart was eager to speak with April specifically because of a project she created to transform one particular speculation into reality: What if the people who collected her art looked like her and/or had similar backgrounds to hers? What if the world of art collecting invited collectors who for a host of reasons had felt excluded from or intimidated by it? She named the new venture the Equity in Collecting Program, and it is already bearing fruit, with April currently reviewing the third round of applicants to the program.April spoke to Art Restart from Los Angeles, where she lives and works, including as a tenured professor at Glendale College. Here she explains why and how she created her singular program and explains how her radical invitation to new collectors is changing not only the art-collecting culture but also her relationship with her fans as well as with her own art.https://www.april-bey.com/

On this episode I'm joined by Essence Harden. Essence Harden is the Visual Arts curator at CAAM,  the California African American Museum.  She' s one of two curators of the Made in L.A. biennial taking place next year in 2025. This year, Essence was named the curator of Focus at Frieze LA.  For this year's focus, Essence explores the intimate, environmental, and urban dimensions of ecologies. Across all  Frieze Fairs, Focus is a space dedicated to galleries founded within the last 12 years. So there's lots of emerging galleries and artists to discover. Just last week, the Hammer Museum named Essence one of two curators of the 7th edition of the Made in LA Biennial. to be held in the fall of 2025. When I catch up with Essence, she's fresh off a call with friend and artist Lauren Halsey. On this episode, we chat about Lauren Halsey, the importance of place and geographies, and her curation of Focus at Frieze LA opening next week.

MHD and Co-Host Chavonne Taylor speak with Naima Keith, Vice President of Education and Public Programs at LACMA, about the important role of Black Art in LA History.Naima J. Keith is the Vice President of Education and Public Programs at LACMA. Within her role, she oversees all aspects of and sets the vision for LACMA's innovative and exhibition-driven educational programming that serves more than 650,000 community members annually.Prior to her position at LACMA, Keith was the Deputy Director and Chief Curator at the California African American Museum where she guided the curatorial and education departments as well as marketing and communications.www.naimajkeith.comEpisode Spotify Playlist

Tschabalala Self is an artist born in Harlem who lives and works in Upstate New York. She received her undergraduate degree at Bard and her MFA from Yale. Recent solo exhibitions and perfiormances include Kunstmuseum, St Gallen, Le Consortium in Dijon, Performa 2021 Biennial in NYC, the Baltimore Museum of Art, the ICA in Boston, the Hammer Museum in LA, Art Omi in Ghent, the Yuz Museum in Shanghai and many others. She has had several museum shows and has had residencies at the Studio Museum in Harlem, the Red Bull House of Art in Detroit, Liquitex work residency in London, the Fountainhead Residency in Miami and many others. Her work has been covered in Art in America, ArtForum, Artnet, Bomb, Cultured, Essence, Frieze, Hyperallergic, The New York Times, T Magazine, The Art Newspaper, The Guardian, Vouge, W and more. Her work can be found in countless institutions, with highlights that include The Art Institute of Chicago, The Baltimore Museum of Art, the Brooklyn Museum, the California African American Museum, the Hirshhorn, LACMA, the New Museum, the MCA in LA, the Guggenheim, the Studio Museum in Harlem and the Whitney Museum. Buy the Sound & Vision book "WHY I MAKE ART" here: https://atelier-editions.com/products/why-i-make-art Thanks to all for listening to the podcast and making it possible to hit 400 episodes!

CAAM | California African American Museum | Chuck D | Public Enemy Also: Milton Bowens 510 Jean Michel Basquiat Last year, I attended a finale class offered to UCLA students. The class was taught by none other than Public Enemy's Chuck D.

African Americans have a long and rich history in the development of Los Angeles and yet, it is only sparsely recognized. MHD and co-host, Chavonne Taylor, sit down with Dr. Alison Rose Jefferson, a historian who has not only researched and documented Black History in Los Angeles but has contributed to its official recognition in communities and cities throughout the county. She talks with MHD about the ways African Americans have contributed to the development of Los Angeles, why Black LA history documentation has been limited, and even her own family history as a third-generation African American Californian.Dr. Alison Rose Jefferson is the author of Living the California Dream: African American Leisure Sites during the Jim Crow Era which examines how African Americans pioneered leisure through their attempts to create communities and business projects, in conjunction with the growing African American population. She is currently working with the California African American Museum as a guest curator on the February 2023 exhibition Black California Dreamin' which highlights Black Angelenos and Californians who worked to make leisure an open, inclusive reality.www.alisonrosejefferson.comhttps://caamuseum.org/exhibitions/2023/black-california-dreamin-african-americans-and-the-frontier-of-leisureEpisode Spotify Playlist

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Patrick Martinez, a mixed media visual artist from Los Angeles.About Artist Patrick Martinez:Patrick Martinez maintains a diverse practice that includes mixed media landscape paintings, neon sign pieces, cake paintings, and his Pee Chee series of appropriative works. The landscape paintings are abstractions composed of Los Angeles surface content; e.g. distressed stucco, spray paint, window security bars, vinyl signage, ceramic tile, neon sign elements, and other recognizable materials. These works serve to evoke place and socio-economic position, and further unearth sites of personal, civic and cultural loss.Patrick's neon sign works are fabricated to mirror street level commercial signage, but are remixed to present words and phrases drawn from literary and oratorical sources. His acrylic on panel Cake paintings memorialize leaders, activists, and thinkers, and the Pee Chee series documents the threats posed to black and brown youth by law enforcement.Patrick Martinez (b. 1980, Pasadena, CA) earned his BFA with honors from Art Center College of Design in 2005. His work has been exhibited domestically and internationally in Los Angeles, Mexico City, San Francisco, Minneapolis, Miami, New York, Seoul, and the Netherlands, and at venues including the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, the Brooklyn Museum, Crystal Bridges Museum of American Art, the Studio Museum in Harlem, the Smithsonian National Portrait Gallery, the Smithsonian NMAAHC, the Tucson Museum of Art, the Buffalo AKG Museum, the Columbus Museum of Art, the Vincent Price Art Museum, the Museum of Latin American Art, the Crocker Art Museum, the Rollins Art Museum, the California African American Museum, the Nerman Museum of Contemporary Art, and El Museo del Barrio, among others.Patrick's work resides in the permanent collections the Whitney Museum of American Art, the Broad Museum, Crystal Bridges Museum of American Art, the Museum of Contemporary Art Los Angeles (MOCA), the Rubell Museum, the Smithsonian National Museum of American History, the California African American Museum, the Autry Museum of the American West, the Benton Museum of Art at Pomona College, the Nerman Museum of Contemporary Art, the Smithsonian National Museum of African American History and Culture, the Los Angeles County Museum of Art (LACMA), the Tucson Museum of Art, the Pizzuti Collection of the Columbus Museum of Art, the University of North Dakota Permanent Collection, the JPMorgan Chase Art Collection, the Crocker Art Museum, the Escalette Permanent Collection of Art at Chapman University, the Manetti-Shrem Museum of Art at UC Davis, the Rollins Museum of Art, and the Museum of Latin American Art, among others.Patrick was awarded a 2020 Rauschenberg Residency on Captiva Island, FL. In the fall of 2021 Patrick was the subject of a solo museum exhibition at the Tucson Museum of Art entitled Look What You Created. In 2022, Patrick was awarded a residency at the Atlantic Center for the Arts. This year, Patrick's suite of ten neon pieces purchased by the Whitney Museum of American Art is on yearlong exhibition installed in the Kenneth C. Griffin Hall in the entrance of the Museum. In September 2023, Patrick opened a solo exhibition at the ICA San Francisco titled Ghost Land and in November of 2023 Patrick will exhibit in Desire, Knowledge, and Hope (with Smog) at The Broad Museum in Los Angeles, CA. Patrick will be the subject of an expansive solo exhibition at the Dallas Contemporary opening in April 2024. Patrick lives and works in Los Angeles, CA and is represented by Charlie James Gallery, Los Angeles.CLICK HERE to see more of Patrick's work. Follow Patrick on Social Media: @Patrick_Martinez_StudioFor more info on his Ghost Land Exhibit, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Step behind the lens and into the vibrant world of award-winning cinematographer Ayinde Anderson, a visionary artist whose storytelling prowess knows no bounds. In this illuminating podcast, we explore Ayinde's multifaceted journey, from his formative years in Brooklyn, New York, to the cinematic heights he has reached today.Ayinde's story is as diverse and compelling as the films he captures. Raised in Raleigh, North Carolina, this creative soul found his passion for cinematography early on. With a Master's degree from the esteemed American Film Institute and mentorship from legends like Michael Chapman ASC and Thomas Ackerman ASC, Ayinde honed his craft, delving into the intricate art of visual storytelling.We unravel the tapestry of Ayinde's work, from his collaboration with Illegal Civilization on the poignant 'Summer of '17' short film to his series with Fader Magazine, where his lens captures the pulse of contemporary culture. His partnership with Malcolm Washington, a testament to the power of Black creatives collaborating, has resulted in projects that challenge norms and redefine storytelling.In the world of cinema, Ayinde stands as a beacon of change. His involvement in 'North Hollywood,' a feature film led by a Black director with a stellar cast, showcases his commitment to breaking barriers and promoting inclusivity in the industry. Through short films like 'The Dispute,' 'Jay,' and 'Retrieval,' Ayinde delves into narratives that are both intimate and profound, leaving audiences captivated by the depth of his storytelling.Ayinde's creative spirit extends beyond the silver screen. His collaboration with the California African American Museum on 'JUSTEN LEROY: LAY ME DOWN IN PRAISE' pays homage to the artistic legacy of Roy DeCarava, illustrating Ayinde's deep understanding of the intersection between visual art and cultural heritage.In this podcast, Ayinde candidly shares his insights on the importance of cinema classics like 'Fresh' and the influence of masters like Bresson, revealing the intricate layers that shape his artistic vision. He reflects on the profound impact of having a life beyond film, emphasizing the significance of personal experiences in fueling creativity.Ayinde Anderson's Website: https://ayindeanderson.com/Ayinde Anderson's Socials: https://www.instagram.com/ayindeanderson_/?hl=en Ayinde Anderson's Socials: https://www.linkedin.com/in/ayinde-anderson-1934679bVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

To Sanford Biggers, the past, present, and future are intertwined and all part of one big, long now. Over the past three decades, the Harlem-based artist has woven various threads of place and time—in ways not dissimilar to a hip-hop D.J. or a quilter—to create clever, deeply metaphorical, darkly humorous, and often beautiful work across a vast array of mediums, including painting, sculpture, video, photography, music, and performance. Among his standout works are “Oracle” (2021), a 25-foot-tall cast bronze sculpture that combines a Greco-Roman form with an African mask; his “BAM” series (2015) of gunshot statuettes; and his ongoing “Codex” series of quilts, which have, over his past decade of making them, become an especially potent and ritualistic part of his art-making.On this episode, Biggers talks about the influence that musicians such as Mahalia Jackson, Ray Charles, and Stevie Wonder have had on his art; why he thinks of himself as a “material polyglot”; and why religious and spiritual works like reliquaries, shrines, and “power objects” are the bedrock of his practice.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes:[00:26] Sanford Biggers[03:55] “Sanford Biggers with Yasi Alipour”[07:14] “The Playful, Political Art of Sanford Biggers”[12:34] Moon Medicin[13:36] Mahalia Jackson[13:39] Ray Charles[13:40] Charles Mingus[13:41] Thelonious Monk[15:32] Stevie Wonder[16:06] Prince[18:00] Dick Gregory[18:01] Richard Pryor[18:02] Redd Foxx[18:47] “BAM” series[27:17] “re:mancipation”[29:05] Skowhegan School of Painting & Sculpture[30:08] John Biggers[31:41] “Codeswitch” at the California African American Museum[33:28] Dr. Leslie King-Hammond[33:30] Maryland Institute College of Art[37:47] University High School[38:23] Morehouse College[38:33] Art Institute of Chicago[47:34] Isamu Noguchi[47:36] Martin Puryear[49:06] “Lotus”[50:31] “Orin”[55:52] “Meet Me on the Equinox”[55:52] “Back to the Stars”

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. On this podcast, Emily chats with Adia Millett, an Oakland based artist working in sculpture, textiles, embroidery, painting, collage, drawing, installation and video.About Artist Adia Millett:Originally from Los Angeles, Adia received her BFA from the University of California, Berkeley and an MFA from the California Institute of Arts. She has exhibited at prominent institutions including the New Museum, New York; P.S. 1, New York; Museum of the African Diaspora, San Francisco; Oakland Museum, CA; Crocker Art Museum, Sacramento; Yerba Buena Center for the Arts, San Francisco; Santa Monica Museum of Art, CA; The Museum of Contemporary Art, Atlanta; The Contemporary Art Center, New Orleans; Barbican Gallery, London, San Jose Quilt and Textile Museum; California African American Museum, Los Angeles and di Rosa Center for Contemporary Art in Napa. Millett has taught at Columbia College in Chicago, UC Santa Cruz, Cooper Union in NY, and California College of the Arts. She is currently based in Oakland, California. Visit Adia's Website: AdiaMillett.comFollow Adia on Instagram: @AdiaMillettLearn more about Adia's current exibits: Wisdom Keepers at the Institute of Contemporary Art San JoseHaines GalleryInventing Truth at The Studio Museum in Harlem--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

(Airdate 8/2/23) Does the resolution around Bruce's beach create momentum for reparations in California? What about other Black spaces that were stolen over the years? Decorated historian Dr. Alison Rose Jefferson has the receipts. Her exhibit at the California African American Museum, “Black California Dreamin': Claiming Space at America's Leisure Frontier” from August 5, 2023 - March 31, 2024. Dr. Alison Rose Jefferson is a publicly engaged independent historian, heritage conservation consultant and a third generation Californian. Her research revolves around the history of the African American experience in Southern California during the twentieth century great migration and Jim Crow era, intersection with heritage conservation, spatial justice and cultural tourism. https://alisonrosejefferson.com/

The Noize is giving you a special episode replay with one of the best contemporary artists in the game, Jamea Richmond-Edwards. The 7 Mile girl, joins the podcast to talk about her amazing mixed media work. Her work centers Black women fully and unapologetically. She crafts narratives around her life experiences growing up in Detroit in the '90s. We talk about her inspirations from Ebony magazine spreads to Howard and beyond. It's another great conversation with one of the best contemporary Black artists in the world. Listen, subscribe and share!Episode 168 topics include:AFRICobra influencesembracing colorbeing a Black Indigenous womanspiritual energy in artsymbols in Jamae's workusing women as subjectsgrowing up in Detroit in the 1990sthe power of styleJamea Richmond-Edwards graduated with a Bachelor of Arts degree from Jackson State University in 2004 where she studied painting and drawing. She went on to earn an MFA from Howard University in 2012. She offers a repertoire of portraits of women drawn using ink, graphite, and mixed media collage. Richmond-Edward's work has garnered the attention of various art critics including in the Washington Post and the Huffington Post's “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”. Richmond-Edwards has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit, MI, and Galerie Myrtis In Baltimore Maryland. Her works are in the permanent collection of private collectors across the country including the Embassy of the United States in Dakar, Senegal.See more: www.jamearichmondedwards.com + @jamearichmondedwardsPresented by: Black Art In AmericaRead the Studio Noize Artist FeatureArtist Jamea Richmond-Edwards: Story of a 7 Mile GirlEpisode TranscriptFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

From Malibu to the San Gabriel Valley, the documentary "The Oldest Vine" explores the history of winemaking in Los Angeles. Amy Luftig and her business partner launched the first winery to open in Los Angeles since Prohibition. Hannah Che reimagines classic Chinese dishes for the vegan palate. Serena Alagappan explores the techniques and culture of eating with our hands. Former filmmaker Adam Alexander discovered an unusual pepper on location in Ukraine. It set him on a quest to unearth rare varieties of vegetables. A traveling farmers market celebrates its second anniversary at the California African American Museum.

A few miles northeast of the California state capital, in the city of Folsom, a public recreation area has recently been renamed Black Miners Bar, after years of being called Negro Bar. Historically, the site is where African American miners were relegated to panning during California's Gold Rush of the mid-1800s. In the summer of 2022, California State Parks unanimously voted to change the name of Negro Bar to Black Miners Bar temporarily, while the department conducts more research into the true history of the area.  For more on what actually transpired on this piece of land we talk to one of the lead researchers on the project, Susan D. Anderson, History Curator and Program Manager at the California African American Museum. We also talk to Michael Harris, a historian and chair of the Friends of Negro Bar community group.

In this episode, Eric sits down with Los Angeles based Postwar & Contemporary sculptor Charles Dickson. They discuss his first exposure to art, how he was specifically drawn to carving at a very young age to, eventually become a child prodigy.. his educational path, involvement in various organizations and the great artists who inspired and mentored him including the legendary Charles White, William Pajaud, John Ottobridge and Noah Purifoy; how they inspired him, informed his work and helped him overcome challenges that he faced along the way. They discuss his artistic journey including his unique process and innovative approach to making art; the numerous mediums he has worked with, his fascination with technology and the chemical make-up of materials. The various “phases” he has gone through and concepts he has dealt with throughout his career that fuel his creative and inventive process. The camaraderie he shares with fellow artists and his desire to empower through teaching; exchange of knowledge, technique and experience with others!For more visit: www.ericsperspective.comGuest Bio:  Postwar & Contemporary sculptor Charles Dickson is an African American Los Angeles native who sculpts in a variety of media including wood, stone, and bronze and is known for incorporating a potpourri of objects and media into his prolific creation of art. He grew up in Watts and had the good fortune to attend an excellent High School with an extremely advanced wood shop/applied arts department. He was given a scholarship to study at Otis Art Institute with Charles White over the summer. Largely self-taught, Dickson is inspired by classical art and the ancient cultures of Africa and Mexico. A master wood carver, Dickson's work is ancestrally driven. The artist incorporates his unique life experiences and surrounding urban environment to create pieces that express different perspectives of the African American experience. Charles Dickson seeks to create a language that conveys what he terms, “the black American aesthetic”. Dickson's work with Black Nudes was also the precursor for a much larger artistic dialogue on the politics of beauty and how the consequences of slavery reverberated in contemporary society that has extended throughout his entire career.For the last fifty years, Charles Dickson has practiced the art of sculpting and has participated in one hundred Professional Exhibitions, including numerous key galleries and museums such as California African American Museum having featured Charles Dickson's work. He has participated in numerous Television Shows and has been written about in various art Magazines, newspaper articles. Charles Dickson has been awarded several public commissions throughout Southern California and works with the Los Angeles Neighborhood Land Trust and Offices of The Trust for Public Land LA River Center to create sculptures within the community… and has received numerous Honors and Awards throughout his celebrated career. Today Dickson is an Artist in Residence at Watts Towers Art Center and the Grounds Keeper for LACMA and the Watts Towers Monument. Dickson continues to sculpt in his Compton studio where he has created a peaceful environment that is open to the public. For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ART SUBSCRIBE: http://bit.ly/2vVJkDn LISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33

Artist Dewey Crumpler and author and scholar Saidiya Hartman first met years ago in the Bay Area, and in the hour they spent together for this episode of Artists on Writers | Writers on Artists, they discuss many subjects including their work, the responsibilities that attend a calling, the exhaustive process of transformation, and the powerful “hum”— the potent frequency—of Black lives. Dewey Crumpler is an associate professor of painting at the San Francisco Art Institute. His current work examines issues of globalization/cultural co-modification through the integration of digital imagery, video and traditional painting techniques. His works are in the permanent collections of the Bank of America Collection at Harvey B. Gantt Center, California African American Museum, Triton Museum of Art Los Angeles and the Oakland Museum Of California. Crumpler is the recipient of the Flintridge Foundation Award, the National Endowment for the Arts Fellowship, as well as the Fleishhacker Foundation Fellowship Eureka Award. He has exhibited most recently with Jenkins Johnson Gallery, Cushion Works, and Derek Eller Gallery. Saidiya Hartman is a professor of English and Comparative Literature at Columbia University. She is the former director of the Institute for Research on Gender and Sexuality at Columbia University, and was a Whitney Oates Fellow at Princeton University (2002), a Cullman Fellow at the New York Public Library (2016–2017), a Critical Inquiry Visiting Professor at the University of Chicago (2018) as well as a Macarthur Fellow (2019). She is the author of Scenes of Subjection: Terror, Slavery, and Self-making in Nineteenth Century America (Oxford University Press, 1997), Lose Your Mother: A Journey Along the Atlantic Slave Route (Farrar, Straus and Giroux, 2007), and Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals (W.W. Norton, 2019), for which she won numerous awards including the National Book Critics Circle Award in Criticism. In addition to her books, she has published articles in journals such as South Atlantic Quarterly, Brick, Small Axe, Callaloo, the New Yorker and the Paris Review. Artists On Writers | Writers On Artists brings together luminaries in the fields of art and literature for free-form conversations. This monthly video series is a joint production of Artforum and Bookforum.

African Americans have a long and rich history in the development of Los Angeles and yet, it is only sparsely recognized. MHD and co-host, Chavonne Taylor, sit down with Dr. Alison Rose Jefferson, a historian who has not only researched and documented Black History in Los Angeles but has contributed to its official recognition in communities and cities throughout the county. She talks with MHD about the ways African Americans have contributed to the development of Los Angeles, why Black LA history documentation has been limited, and even her own family history as a third-generation African American Californian. Dr. Alison Rose Jefferson is the author of Living the California Dream: African American Leisure Sites during the Jim Crow Era which examines how African Americans pioneered leisure through their attempts to create communities and business projects, in conjunction with the growing African American population. She is currently working with the California African American Museum as a guest curator on the February 2023 exhibition Black California Dreamin' which highlights Black Angelenos and Californians who worked to make leisure an open, inclusive reality. www.alisonrosejefferson.com

Bill Spiller is the man most responsible for breaking down the barriers for minorities to play on the PGA Tour. Our first "road show" takes us to the California African American Museum where we visit with his son, Bill Spiller, Jr. 

This week we are joined by archivist Jacqueline Stewart and historian Tyree Boyd-Pates to discuss the power of museum curation. The role of the museum curator is critical to the way that museums are experienced. We begin by discussing museums as “safe spaces for dangerous ideas” – in other words, how museums can be harbingers of racist and colonialist rhetoric when spaces are improperly curated. Museums can not only present history through materials, but also have the power to represent the present materials. We then discuss how museums can be spaces of change through seeing not only more presentation of anti-colonial materials, but also seeing those materials represented through an anti-colonial gaze. The guests stress the importance of having more African American curators in order to not only tell the history of a people, but of the community as well.Jacqueline Stewart is film scholar, archivist, curator and a Professor in the Department of Cinema and Media Studies and the College, Director of Arts + Public Life at the University of Chicago. She is also the Chief artistic and programming officer at the Academy Museum of Motion Pictures in Los Angeles. She also serves as an appointee to the National Film Preservation Board and hosts Silent Sunday Nights on Turner Classic Movies.Stewart is also the author of Migrating to the Movies Cinema and Black Urban Modernity and William Greaves Filmaking as Mission, and is an editor of L.A. Rebellion Creating a New Black Cinema.Tyree Boyd-Pates is a historian, speaker,  and museum curator at the Autry Museum of the American West as the Associate Curator of Western History. He previously held the position of History Curator and Public Program Manager at the California African American Museum. He began his career as a Professor of Africana Studies at California State University Dominguez Hills. He has curated shows for notable institutions such as the Smithsonian, the LA Philharmonic, The Getty, and more. A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:“Where Are the Jews?”Black Films at TCMBlack Cinema at the Academy Museum“Oscars So White”Iris BarryLewis JacobOscar MicheauxAnna May Wong ; Academy Series Academy Museum PodcastMaking  film history more inclusiveRacism in AnimationGene AutryCommunity CurationShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

LA based artist Carla Jay Harris joins the Studio Noize fam! Carla makes intricate and layered digital art using a unique process to build her narratives. She walks us through her process of creating a series like A Season in the Wilderness which is currently on display at the Lancaster Museum of Art and History. Carla talks about the importance of a process, weaving narratives that let viewers into the story, and making space for her creative work by maintaining her 9 to 5. We're back with another great episode of the Noize! Listen, subscribe, and share!Episode 135 topics include:digital composite artputting together a seriestraditional vs digital photographyworking with a galleryhaving a job as an artistcrafting abstract narrativesexploring materialsBorn in Indianapolis, IN, but raised traveling the world as the child of a military officer, Carla Jay Harris's social and artistic development was impacted tremendously by the geopolitical and natural environments she encountered. She fervently believes that physical and physiological space has a fundamental, lasting impact on personal identity. While the environment around us is constantly evolving, photography has the power to capture a place or a moment—transforming a flicker in time into a lasting, appreciable statement. Harris's work has been exhibited nationally and internationally at the California African American Museum, CA; the Los Angeles Municipal Art Gallery, CA; the Southern, Charleston, SC; Smack Mellon, Brooklyn, NY; and the Museum of Fine Arts Sherbrooke, Quebec, Canada. She has been the beneficiary of several grants and fellowships, including the Hoyt Scholarship, Resnick Fellowship, and a grant from the Pasadena Art Alliance. Harris completed undergraduate coursework at the School of Visual Arts in New York, received her Bachelor's degree with distinction from the University of Virginia, and her MFA from UCLA in 2015. She lives and works in Los Angeles, CA.See More: www.carlajayharris.com + Carla Jay Harris IG @carlajayharrisFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Today we asked Naima J. Keith, VP of Education and Public Programs at LACMA: How can art educate? And have you ever wondered: How do museums fit into our cultural ecosystem? What purpose do they serve for community members? What purpose should they serve? And what is at stake? Who works in each department of a museum? What is each role's set of responsibilities? What kinds of strategies do curators & museum educators employ to facilitate education through art? How do these approaches differ? Get bona fide answers and advice from Naima on Episode 2 of Declassified. About Naima: Naima currently works as the Vice President of Education and Public Programs at the Los Angeles County Museum of Art (LACMA). Before LACMA, Naima worked as Deputy Director and Chief Curator at the California African American Museum in LA and received the David C. Driskell Prize in 2017 for her contributions to the field of African American Art History. Naima also worked for several years as a curator at the Studio Museum in Harlem and the Hammer Museum in Los Angeles. Naima has written extensively for publications like Art Forum, Art News and worked as co-artistic director for this year's installment of the Prospect New Orleans triennal. She received her Bachelor's degree from Spelman College and her Masters from UCLA, both in Art History. Find her on IG: @naimajoy Definitions and more resources on www.declassified-pod.com/episodes/keith & IG @declassified.pod. See you next week!

Troy Montes-Michie was born in El Paso. Border towns are a natural mash-up of cultures, traditions, languages, food, fashion, and nearly everything else. It's no surprise that Montes-Michie turned his focus to collage, creating instantly recognizable works using magazine clippings, pornography, images of the Black male body, and plenty of zoot suits. In “Rock of Eye,” the artist's first solo museum exhibition, these collages can be seen alongside, drawings, sculptures, and installations. On view through September 4th at the California African American Museum in Los Angeles.

As the nation recovers from a season of pandemic dangers, social justicige reckoning and electoral uncertainties, one thing is sure, a vibrant arts sector is essential. And so we begin our deep dive look at the Creative Economy from an African Americab=n Perspective, Starting with this first of a four part series: African Americans in Classical Music. We talk with George Davis former Executive Director of the California African American Museum, and Professor Janisse White, Classical music scholar, historian and advocate.

MHD and Co-Host Chavonne Taylor speak with Naima Keith, Vice President of Education and Public Programs at LACMA, about the important role of Black Art in LA History. Naima J. Keith is the Vice President of Education and Public Programs at LACMA. Within her role, she oversees all aspects of and sets the vision for LACMA's innovative and exhibition-driven educational programming that serves more than 650,000 community members annually. Prior to her position at LACMA, Keith was the Deputy Director and Chief Curator at the California African American Museum where she guided the curatorial and education departments as well as marketing and communications.

In the early 20th century, the largest employer of Black men in the United States was the Pullman Car Company, which operated luxurious trains that carried millions of passengers around the booming nation in an era before airplanes and interstate highways. Ever since the company's founding during the Civil War, Pullman exclusively hired Black men as porters to keep the train cars clean and serve the white passengers. Although the job was prestigious, by the 1920s porters were fed up with the low pay, long hours, and abusive conditions. Their struggle to unionize became one of the most significant civil rights conflicts of the pre-WWII era and laid the groundwork for the movement led by Martin Luther King Jr. in later years. Produced by Liam O'Donoghue for his podcast East Bay Yesterday, this story explores how Oakland's C.L. Dellums helped the Brotherhood of Sleeping Car Porters triumph over one of the nation's most powerful corporations, and also his massive impact on challenging widespread racial discrimination throughout California. Dellums helped make jobs in wartime industries available to Black workers, setting the stage for the “second great migration” on the West Coast; he organized early protests against police brutality; and he helped end widespread racial segregation among powerful labor unions. His goal was nothing short of “total freedom and equality.” With special guest Susan D. Anderson, the History Curator and Program Manager at the California African American Museum, and the author of a forthcoming book on California's Black history. This episode also features a segment from the **Black Liberation Walking Tour **which includes the voices of C.L. Dellums and his daughter Marva. Many thanks to Liam O'Donoghue for sharing his work on The Kitchen Sisters Present.

Aight'chall. Let's chill and get into the California African American Museum's Martin Luther King Jr "King Study Group", Dr. Barbara F. Walter's interview with Frank Buckley over her book  'How Civil Wars Start: And How to Stop Them' & More! This is Loungin' w/ NERDSoul and Lady Lisa where it's about Entertainment, Politics and Culture because them twitter streets is talkin! .

In the early 20th century, the largest employer of Black men in the United States was the Pullman Car Company, which operated luxurious trains that carried millions of passengers around the booming nation in an era before airplanes and interstate highways. Ever since the company's founding during the Civil War, Pullman exclusively hired Black men as porters to keep the train cars clean and serve the white passengers. Although the job was prestigious, by the 1920s porters were fed up with the low pay, long hours, and abusive conditions. Their struggle to unionize became one of the most significant civil rights conflicts of the pre-WWII era and laid the groundwork for the movement led by Martin Luther King Jr. in later years. This episode explores how Oakland's C.L. Dellums helped the Brotherhood of Sleeping Car Porters triumph over one of the nation's most powerful corporations, and also his massive impact on challenging widespread racial discrimination throughout California. Dellums helped open jobs in wartime industries up for Black workers, setting the stage for the “second great migration” on the West Coast; he organized early protests against police brutality; and he helped end widespread racial segregation among powerful labor unions. His goal was nothing short of “total freedom and equality.” Today's guest is Susan D. Anderson, the History Curator and Program Manager at the California African American Museum, and the author of a forthcoming book on California's Black history. This episode also features a segment from the Black Liberation Walking Tour which includes the voices of C.L. Dellums and his daughter Marva. See photos and more information about this episode here: https://eastbayyesterday.com/episodes/the-porters-were-fed-up/ East Bay Yesterday can't survive without your support. Please donate to keep this show alive: www.patreon.com/eastbayyesterday

Over the past year, directors of cultural institutions across Los Angeles have announced their retirements, which means a new generation of cultural leadership is upon us. But despite a desire for change that seems nearly universal, new directors must still answer to many of the same funders and face the same pressures as their predecessors—to raise money or sell tickets, to scale up, to stay relevant—all while navigating post-pandemic reopenings and reckonings around race and inclusion. What does Los Angeles need from its new guard of cultural leaders? What obstacles do their institutions face, and how can these new faces surmount them? Will all of the city's culture centers even survive? California African American Museum executive director Cameron Shaw, Inner-City Arts president and CEO Shelby Williams-González, and MAK Center for Art and Architecture director Jia Yi Gu visited Zócalo to discuss the change they plan to be and want to see in one of the world's most vibrant cultural capitals. This Zócalo/Helms Bakery District event was streamed live from Helms Design Center on September 29, 2021 and was moderated by architecture and design journalist Frances Anderton. Read more about our panelists here: https://zps.la/3cjL6OA For a full report on the live discussion, check out the Takeaway: https://zps.la/3FcbZn5

On this week's episode of “Yep, That Happened,” we revisit the discussion on relatability in social media influencing and whether influencers have to be relatable to their audience. Enjoy!   Yep, That Happened is a podcast where writer and host, Shirley, talks about what everyone else is talking about, what needs to be discussed more, and what no longer deserves our time. Check out her website at shirleyldeleon.com. Send any questions and comments to yepthathappenedpodcast@gmail.com or fill out the form on her homepage. Follow her on Instagram at @shiloudeleon. Like, share and subscribe to the podcast. If you love the show, please give it a 5-star review. Thank you for listening!   Links mentioned: “Why Being Personable Is the Key to Social Media Success” article from Convince & Convert: https://www.convinceandconvert.com/social-media-marketing/personable-key-to-social-media-success/   “Being relatable and breaking through on social media.” article from matchbook.com: https://www.matchbookcreative.com/blog/staying-relatable-and-breaking-through-on-social-media   “CASSANDRA'S “THE CULTURE OF INFLUENCE” REPORT REVEALS WHAT MAKES AN INFLUENCER EFFECTIVE WITH GEN Z AND MILLENNIALS” article from Engine: https://enginegroup.com/us/news/stay-curious/cassandra-the-culture-of-influence-report/   “How and why do influencers make so much money? The head of an influencer agency explains.” article from https://www.vox.com/the-goods/2018/11/28/18116875/influencer-marketing-social-media-engagement-instagram-youtube   “Aunt Jemima No More; Pancake Brand Renamed Pearl Milling Company” article from NPR: https://www.npr.org/2021/02/10/966166648/aunt-jemima-no-more-pancake-brand-renamed-pearl-milling-company   “Aunt Jemima Will Change Name, Image As Brands Confront Racial Stereotypes” article from NPR: https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/17/879104818/acknowledging-racial-stereotype-aunt-jemima-will-change-brand-name-and-image   “The Mammy myth and what it really is like to be a white people's caretaker” article from Medium: https://medium.com/age-of-awareness/the-mammy-myth-and-what-it-really-is-like-to-be-a-white-peoples-caretaker-5eaebf23905f   “Making Mammy: A Caricature of Black Womanhood, 1840–1940” article from the California African American Museum: https://caamuseum.org/exhibitions/2019/making-mammy-a-caricature-of-black-womanhood-18401940   “Why do black creators get paid the LEAST” video by As Told By Kenya: https://www.youtube.com/watch?v=SxFMiF-EFr0   “WHAT CONSTITUTES AN INFLUENCER?” article from mediafix.com: https://mediakix.com/blog/influencer-definition-marketing/   “Evanston reparations program approved as city becomes 1st in US to do so; some say it's not enough” article from abc7chicago.com: https://abc7chicago.com/evanston-reparations-illinois-reparation-il/10443028/   “Evanston, Illinois, becomes first U.S. city to pay reparations to Black residents” article from nbcnews.com: https://www.nbcnews.com/news/us-news/evanston-illinois-becomes-first-u-s-city-pay-reparations-blacks-n1261791   MUSIC CREDIT: Mango by Smith The Mister https://smiththemister.bandcamp.com Smith The Mister https://bit.ly/Smith-The-Mister-YT Free Download / Stream: https://bit.ly/mango-smith-the-mister Music promoted by Audio Library https://youtu.be/Zn4SeyT3oME   Track Info: Title: Mango by Smith The Mister Genre and Mood: Alternative & Punk + Bright   Available on: Spotify: https://spoti.fi/2FIeX4V iTunes: https://apple.co/305EA9t Deezer: https://deezer.com/us/album/64408662 Bandcamp: https://smiththemister.bandcamp.com/t... Google Play: http://bit.ly/2GgLjEq   Contact the Artist: smiththemister@gmail.com https://smiththemister.bandcamp.com https://soundcloud.com/smiththemister https://open.spotify.com/artist/3lklK... https://music.apple.com/us/artist/smi... https://youtube.com/channel/UCQ5zugE_... https://deezer.com/us/artist/14163883 https://instagram.com/smiththemister

In this episode, Eric speaks with artist Mark Steven Greenfield; about his journey and education in the arts and the great artists who mentored him. They discuss his experience of growing up and living in the Philippines and Germany and how that shaped his outlook on life and ideas of racism and oppression. They discuss his body of work that deals with themes such as  African American stereotypes, spiritual practices, social justice, meditative practices and  abstraction. The life of an artist, the importance of craft, the need to find a way to support their passion and the delicate balance of making a living and staying true to one's artistic integrity. Greenfield's thought-provoking and controversial series "Blackatcha" and his intention of 'reappropriating the appropriated' in order to neutralize the effects of racist stereotypes, his most recent work focuses on the mystery surrounding “The Black Madonna”. They discuss the role of the artist in society and the power of art to make an impact for generations to come.  For more visit: www.ericsperspective.comGuest Bio: A native Angeleno, Mark Steven Greenfield studied under Charles White and John Riddle at Otis Art Institute in a program sponsored by the Golden State Life Insurance Company. He went on to receive his Bachelor's degree in Art Education in 1973 from California State University, Long Beach.  To support his ability to make his art, he held various positions as a visual display artist, a park director, a graphic design instructor and a police artist before returning to school, graduating with Master of Fine Arts degree in painting and drawing from California State University, Los Angeles in 1987. From 1993 through 2010 he was an arts administrator for the Los Angeles Department of Cultural Affairs; first as the director of the Watts Towers Arts Center and the Towers of Simon Rodia and later as the director of the Los Angeles Municipal Art Gallery. In 1998 he served as the Head of the U. S. delegation to the World Cup Cultural Festival in Paris, France and in 2002 he was part of the Getty Visiting Scholars program. He has served on the boards of the Downtown Arts Development Association, the Korean American Museum, and The Armory Center for the Arts , and was past president of the Los Angeles Art Association/Gallery 825. He currently serves on the boards of Side Street Projects, The Harpo Foundation and Los Angeles Contemporary Exhibitions. Greenfield's work has been exhibited extensively throughout the United States most notably at the Museum of Contemporary Art of Georgia, the Wignall Museum of Contemporary Art and the California African American Museum.  Internationally he has exhibited in Thailand at the Chiang Mai Art Museum, in Naples, Italy at Art 1307, Villa Donato , the Gang Dong Art Center in Seoul, South Korea and the Blue Roof Museum in Chengdu, PRC.  He is represented by the Ricco Maresca Gallery in New York and the William Turner Gallery in Santa Monica, California. His work deals primarily with the African American experience and in recent years has focused on the effects of stereotypes on American culture stimulating much-needed and long overdue dialog on issues of race. He is a recipient of the L.A. Artcore Crystal Award (2006), Los Angeles Artist Laboratory Fellowship Grant (2011), the City of Los Angeles Individual Artist Fellowship (COLA 2012), The California Community Foundation Artist Fellowship (2012),  the Instituto Sacatar Artist Residency in Salvador, Brazil (2013), the McColl Center for Art + Innovation Residency in 2016 and the Loghaven Artist Residency (2021). He was a visiting professor at the California Institute of the Arts in 2013 ,  and was artist-in-residence at California State University, Los Angeles in 2016. He currently teaches at Los Angeles City College.

In this episode, Eric speaks with art and culture nonprofit consultant Charmaine Jefferson who talks about how her passion for the arts came about; from training in ballet and tap dancas a child and always having been surrounded by art — her uncle renowned artist John Riddle, her brother who is an artist and her aunt who had an artistic inclination. She talks about her days as a professional dancer, her experience as an African American and the challenges she faced during the “Black is Beautiful Era”, her education in Dance, followed by law school — which paved the way for her prolific career in Arts Administration and engaging with various institutions; museums, dance companies, performing houses, botanical gardens, science centers, including capital renovation, construction projects and board service, arranging charitable and public art programs… to eventually becoming the Executive Director of the California African American Museum. They  discuss her late uncle John Riddle and his iconic works, being related to Carter G. Woodson, the founder of Negro History Week and coming from a family of war protestors; that would engage in political debates and the importance of researching and documenting one's family tree. And her most recent venture her consulting firm Kélan Resources that enables her to consult with a variety of organizations; International Associations of Blacks and Dance, museums and historic houses around the country. For more visit: www.ericsperspective.comGuest Bio: Native Angelino; Charmaine is an arts and culture advocate and administrator. She serves nonprofits through Kélan Resources, her cause driven consulting firm dedicated to integrating art, history, culture, business and diversity into the DNA of education, community, philanthropy, and public and private collaborations. As an active volunteer, she recently completed 8 years as a gubernatorial appointee on the California Arts Council, and as a Director on the Board of Arts for LA. She continues to serve as a college trustee and academic committee chair for the California Institute of the Arts, as a mayoral appointee and vice chair of the City of Los Angeles' Cultural Affairs Commission, on the African American Advisory Council for PBS SoCal, on the Advisory Board of Children Mending Hearts and on the Advisory Committee for the Los Angeles County Cultural Affairs Commission's “Cultural Equity and Inclusion Initiative.” Charmaine received her B.A. in Dance from the University of California, Los Angeles; M.A. in Dance Education from New York University and J.D. from Georgetown University Law School. About Eric's Perspective: A podcast series on African American art with Eric Hanks. Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more, visit www.ericsperspective.comSUBSCRIBE: http://bit.ly/2vVJkDnLISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33www.mhanksgallery.com

Three formerly enslaved Black men were living their California Gold Rush dream, building a lucrative mining supply business in just a few months. But one cool spring night in 1852, an armed posse of white men burst into their cabin and arrested them, claiming they were fugitive slaves. In our pilot episode, we explore a little-known California law that unleashed racial terror on Black people and made a mockery of the state constitution's ban on slavery. Episode Guests: Stacey L. Smith, an associate professor of history at Oregon State University, and author of Freedom’s Frontier: California and the Struggle over Unfree Labor, Emancipation and Reconstruction. Smith is acting as a historical consultant to the California Department of Justice as it supports the Task Force to Study and Develop Reparations Proposals for African Americans. Taylor Bythewood-Porter, an assistant curator at the California African American Museum in Los Angeles. Bythewood-Porter co-curated California Bound, Slavery on the New Frontier, 1848-1865. Candice Francis, communications director at the ACLU of Northern California. Explore the entire Gold Chains: Hidden History of Slavery in California Project Production Credits: Produced by the ACLU of Northern California. Episode created, written and hosted by Tammerlin Drummond Technical production and music by Dax Brooks, co-written by Alex Doty.  Thanks to Marshal Arnwine, Candice Francis, Gigi Harney, Brady Hirsch, Carmen King, Abdi Soltani, Eliza Wee and Stephen Wilson. And to our partners on the public education project, Gold Chains: The Hidden History of Slavery in California: KQED the California Historical Society, the Equal Justice Society and Laura Atkins. Episode Website

In 1912, a Black couple named Charles and Willa Bruce bought a parcel of land in Manhattan Beach, CA and turned it into a successful seaside resort for Black Californians. Until they were driven out of town -- by white city officials who didn't want Black neighbors. Now, a hundred years later, a new state law will allow for the return of the property to the Bruces' descendants. But the city of Manhattan Beach refuses to apologize for its actions. VICE producer Julia Nutter heads to Manhattan Beach to explore the tensions playing out right now in what may be a test case of land reparations for African Americans. This episode was reported and produced by Julia Nutter.  Cover art photograph: Courtesy of the California African American Museum. VICE News Reports is hosted by Arielle Duhaime-Ross and produced by Jesse Alejandro Cottrell, Sophie Kazis, Jen Kinney, Janice Llamoca, Julia Nutter, and Sayre Quevedo. Our senior producers are Ashley Cleek and Adizah Eghan. Our associate producers are Steph Brown, Sam Eagan, and Adreanna Rodriguez. Sound design and music composition by Steve Bone, Pran Bandi and Kyle Murdock. Our intern is Leily Rezvani.   Our executive producer and VP of Vice Audio is Kate Osborn. Janet Lee is Senior Production Manager for VICE Audio. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Episode No. 509 features artist Allison Janae Hamilton and curator Tamara Schenkenberg. Allison Janae Hamilton is included in "Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse," which is at the Virginia Museum of Fine Arts in Richmond through September 6. The exhibition, which was curated by Valerie Cassel Oliver, examines the aesthetics of early 20th-century Black culture across the South. It details how sonic and visual parallels in Southern Black culture have informed and shaped broader contemporary American culture. She's also included in "Enunciated Life" at the California African American Museum in Los Angeles, which considers Black spirituality. It was curated by Taylor Renee Aldridge and runs through August 15. Hamilton's work investigates and reveals the South's history and landscape and their influence on the American story across photographs, sculpture, video and installation. She has had solo exhibitions at Recess in New York, the Atlanta Contemporary and at MASS MoCA, and New York's Times Square Arts and Creative Time have presented her work. Clips from several of the Hamilton video installations discussed on this program are available on Hamilton's Vimeo page, including: Wacissa (2019); Waters of a Lower Register (2020); and A Pale Horse (2021); On the second segment, Schenkenberg discusses her exhibition "Hannah Wilke: Art for Life's Sake," which is at the Pulitzer Foundation for the Arts in Saint Louis through January 16, 2022. The career-spanning exhibition features 120 works that reveal how Wilke considered the vulnerability of the human body as essential to experiencing life and connection. The museum's exhibition guide is available as a free download.

As the founding director of the Smithsonian National Museum of African American History and Culture, Lonnie Bunch was responsible for creating a museum that started with no objects, no staff, no building – not even a location for the building. Since opening in September 2016, the museum has welcomed 6 million visitors. In this episode, he discusses how he created a space that tells stories of tragedy and triumph, hardship and resilience. We'll also discuss several timely issues related to race in America and his still acute imposter syndrome. GUEST Lonnie Bunch is the Secretary of the Smithsonian Institution, the first African American and first historian to serve in that role. Prior to becoming Secretary, Lonnie was the founding director of the Smithsonian's National Museum of African American History and Culture. Considered one of the most influential museum professionals of his time, Lonnie has also worked with the California African American Museum in Los Angeles, National Museum of American History, and the Chicago Historical Society. His latest book, A Fool's Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump, chronicles the making of the museum.Follow us on Twitter @speakgoodpodCheck out our blogGot an episode idea?

For the penultimate episode of How To Be An Artist, Kate Bryan is joined by Genevieve Gaignard. Based in Los Angeles, she enlists the use of photographic self-portraiture, sculpture and installation to explore race, femininity, class, and their various intersections. In this episode, Gaignard chats to Bryan about her recent residency at the Massachusetts College of Liberal Arts, how she draws inspiration from her mother's aesthetic, and shares advice to aspiring artists. Gaignard's work has been exhibited throughout the United States, with shows at the Studio Museum in Harlem, the California African American Museum in Los Angeles, and the Houston Center for Photography. Her installationNever Too Much can also be found at Soho Warehouse in Downtown LA.

In this episode, Susan Anderson shares her knowledge about how The Gold Rush Era marked the real beginning of African American migration into California: around 200 to 300 slaves came to work the gold fields, followed by free African Americans. We learn something about their stories as well as their history.Susan also dropped genealogical knowledge about the 1850 census, where best to find records for African Americans in the west during the 1850s, and more. If you missed this show yesterday you are going to want to watch it today!Susan D. Anderson is History Curator and Program Manager at the California African American Museum in Los Angeles, and a member of the editorial board of California History journal. She has published and lectured widely with an emphasis on California's hidden African American past. Susan's book, Nostalgia for a Trumpet: Poems of Memory and History was published by Northwestern University Press. Her forthcoming book, African Americans and the California Dream, is under contract with Heyday Books Become a member at https://plus.acast.com/s/genealogy-adventures. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Nikita Gale makes sculpture and installation-based work that explores the exchanges and barriers between audience and performer. Nikita talks about how artwork can influence group behavior, protest and dissent as performance, research as a way to pull out ideas, noise and silence as social and political positions, the similarities between studio visits and dating, maintenance and mind-body awareness, and art as an open invitation. See Nikita’s work HERENikita’s culture recommendation: Stories of Your Life and Others, by Ted Chiang Nikita Gale/Private Dancer at California African American Museum through May 9, 2021Support Deep Color

In this segment I got a chance to sit and interview world renown visual artist, Jamea Richmond-Edwards. Her resume speaks for itself; she's been in over 80 publications, her work has garnered the attention of various art critics including the Washington Post and the Huffington Post's "Black Artists: 30 Contemporary Art Makers Under 40 You Should Know". Jamea has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit, MI, and Galerie Myrtis in Baltimore, Maryland. What I was most intrigued about was her passion and what helps drive her creative influence! I got everything that I was looking for in this interview & you're going to love her energy and vision so sit back and enjoy!!

On this week’s episode of “Yep, That Happened,” Shirley discusses relatability in social media influencing and whether influencers have be relatable to their audience. Enjoy!   Yep, That Happened is a weekly podcast where writer and host, Shirley, talks about what everyone else is talking about, what needs to be discussed more, and what no longer deserves our time. Check out her website at shirleyldeleon.com. Send any questions and comments to yepthathappenedpodcast@gmail.com or fill out the form on her homepage. Follow her on Instagram at @shiloudeleon. Like, share and subscribe to the podcast. If you love the show, please give it a 5-star review. Thank you for listening!   Links mentioned: “Why Being Personable Is the Key to Social Media Success” article from Convince & Convert: https://www.convinceandconvert.com/social-media-marketing/personable-key-to-social-media-success/   “Being relatable and breaking through on social media.” article from matchbook.com: https://www.matchbookcreative.com/blog/staying-relatable-and-breaking-through-on-social-media   “CASSANDRA’S “THE CULTURE OF INFLUENCE” REPORT REVEALS WHAT MAKES AN INFLUENCER EFFECTIVE WITH GEN Z AND MILLENNIALS” article from Engine: https://enginegroup.com/us/news/stay-curious/cassandra-the-culture-of-influence-report/   “How and why do influencers make so much money? The head of an influencer agency explains.” article from https://www.vox.com/the-goods/2018/11/28/18116875/influencer-marketing-social-media-engagement-instagram-youtube   “Aunt Jemima No More; Pancake Brand Renamed Pearl Milling Company” article from NPR: https://www.npr.org/2021/02/10/966166648/aunt-jemima-no-more-pancake-brand-renamed-pearl-milling-company   “Aunt Jemima Will Change Name, Image As Brands Confront Racial Stereotypes” article from NPR: https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/17/879104818/acknowledging-racial-stereotype-aunt-jemima-will-change-brand-name-and-image   “The Mammy myth and what it really is like to be a white people’s caretaker” article from Medium: https://medium.com/age-of-awareness/the-mammy-myth-and-what-it-really-is-like-to-be-a-white-peoples-caretaker-5eaebf23905f   “Making Mammy: A Caricature of Black Womanhood, 1840–1940” article from the California African American Museum: https://caamuseum.org/exhibitions/2019/making-mammy-a-caricature-of-black-womanhood-18401940   “Why do black creators get paid the LEAST” video by As Told By Kenya: https://www.youtube.com/watch?v=SxFMiF-EFr0   “WHAT CONSTITUTES AN INFLUENCER?” article from mediafix.com: https://mediakix.com/blog/influencer-definition-marketing/   “Evanston reparations program approved as city becomes 1st in US to do so; some say it's not enough” article from abc7chicago.com: https://abc7chicago.com/evanston-reparations-illinois-reparation-il/10443028/   “Evanston, Illinois, becomes first U.S. city to pay reparations to Black residents” article from nbcnews.com: https://www.nbcnews.com/news/us-news/evanston-illinois-becomes-first-u-s-city-pay-reparations-blacks-n1261791   MUSIC CREDIT: Mango by Smith The Mister https://smiththemister.bandcamp.com Smith The Mister https://bit.ly/Smith-The-Mister-YT Free Download / Stream: https://bit.ly/mango-smith-the-mister Music promoted by Audio Library https://youtu.be/Zn4SeyT3oME   Track Info: Title: Mango by Smith The Mister Genre and Mood: Alternative & Punk + Bright   Available on: Spotify: https://spoti.fi/2FIeX4V iTunes: https://apple.co/305EA9t Deezer: https://deezer.com/us/album/64408662 Bandcamp: https://smiththemister.bandcamp.com/t... Google Play: http://bit.ly/2GgLjEq   Contact the Artist: smiththemister@gmail.com https://smiththemister.bandcamp.com https://soundcloud.com/smiththemister https://open.spotify.com/artist/3lklK... https://music.apple.com/us/artist/smi... https://youtube.com/channel/UCQ5zugE_... https://deezer.com/us/artist/14163883 https://instagram.com/smiththemister

The 7 Mile girl, Jamea Richmond-Edwards joins the podcast to talk about her amazing mixed media work. Her work centers Black women fully and unapologetically. She crafts narratives around her life experiences growing up in Detroit in the '90s. We talk about her inspirations from Ebony magazine spreads to Howard and beyond. It's another great conversation with one of the best contemporary Black artists in the world. Jamea Richmond-Edwards graduated with a Bachelor of Arts degree from Jackson State University in 2004 where she studied painting and drawing. She went on to earn an MFA from Howard University in 2012. She offers a repertoire of portraits of women drawn using ink, graphite, and mixed media collage. Richmond-Edward's work has garnered the attention of various art critics including in the Washington Post and the Huffington Post's “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”. Richmond-Edwards has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit, MI, and Galerie Myrtis In Baltimore Maryland. Her works are in the permanent collection of private collectors across the country including the Embassy of the United States in Dakar, Senegal.See more: www.jamearichmondedwards.com + @jamearichmondedwardsRead the Studio Noize Artist FeatureArtist Jamea Richmond-Edwards: Story of a 7 Mile GirlThe Studio Noize question of the week is:What is your least favorite art admin thing to do?Follow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast https://www.patreon.com/studionoizepodcast

Tune into episode 7 of the News and Coffee Morning Show with host Joquoya Murphy as she shares the latest in Black California news showcasing: Learn more about the new executive director appointment at the California African American Museum; UC Davis’ newly endowed chair, and a California bill to support black businesses.Following the headlines, Joquoya runs through her favorite posts from social media celebrating blackness in all its glory.Joquoya also shares her top three black-owned businesses in self-care, bikes, and nail polish.

April Bey grew up in The Bahamas (New Providence) and now resides and works in Los Angeles, CA as a visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, feminism, generational theory, social media, AfroFuturism, AfroSurrealism, post-colonialism and constructs of race within supremacist systems.   Bey’s work is in the collection of The California African American Museum, The National Art Gallery of The Bahamas, The Center for Contemporary Printmaking, Fullerton College Art Gallery, Museum of Art and History, Lancaster, CA, and more. Bey has exhibited in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa. Bey has launched 5 solo exhibitions: Picky Head at Liquid Courage Gallery in Nassau, Bahamas, COMPLY at Coagula Curatorial in Chinatown, Los Angeles, MADE IN SPACE at Band of Vices Gallery in West Adams, a large survey of work spanning several years, Welcome to Atlantica at Fullerton College Art gallery and most recently a solo presentation with UPFOR Gallery at UNTITLED ART ONLINE Art Fair.  Bey is both a practicing contemporary artist and art educator having taught a controversial course at Art Center College of Design called Pretty Hurts analyzing process-based art and Beyoncé hashtag faux feminism.  Bey is currently a tenured professor at Glendale College. And I'm Calm, Calculated and Perfectly Aligned aprilbey@gmail.com Watercolor drawing, acrylic paint, epoxy resin, hand-sewn "African" fabric, oil impasto 40 x 30 in 2020 COLONIAL SWAG: First Edition Atlanticans aprilbey@gmail.com Digital print stapled into eco fur on panel 30 x 24 in 2021      

WE ARE NOT STRANGERS HERE EPISODE 1 "Freedom Chasers: Early Black Settlers and the California Dream." Thousands of African Americans participated in the California Gold Rush. Some were still enslaved when they did like 49er Alvin Coffey. Join us for Episode 1 to learn more about Coffey's fascinating tale. (Photo Credit: Alvin Coffey, Tehama County, c. 1880s. Courtesy of the Society of California Pioneers). We Are Not Strangers Here is a collaboration between Susan Anderson of the California African American Museum, the California Historical Society, Exhibit Envoy and Amy Cohen, Dr. Caroline Collins from UC San Diego, and the Cal Ag Roots Project at the California Institute for Rural Studies. This project was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities (Visit calhum.org to learn more), and the 11th Hour Project at the Schmidt Family Foundation. Music Credits for Episode 1: "Strange Persons" by Kicksta; "Petit Gennevilliers (Celesta") by MagnusMoone; and "Summer Breeze" and "Inward" by HansTroost. Tribe of Noise licensing information can be found here.

Twenty years ago, the People confirmed that Patricia J. Titus was the "Right Choice for Justice," and elected her as Judge of the Superior Court of California for the County of Los Angeles. With Exodus 18:21 as her foundation, Judge Titus' campaign was set apart from its inception. Because of her character, integrity, professional ability and legacy of community involvement, her candidacy garnered endorsements from a broad cross section of national, state, and local elected officials, pastors, community leaders, judges and attorneys. Since February, 2009, Judge Titus has been assigned to the Inglewood Superior Court where she hears requests for domestic violence and civil harassment restraining orders and presides over the Drug Court. In honor of her 20th year as a judge and as a community service, she has published the book, “F.R.I.E.N.D.S. for LIFE: 7 Keys to Supporting Loved Ones Experiencing Domestic Violence.” Using the word “friends” as an acronym, Judge Titus educates, enlightens and empowers the reader by providing an easy-to-follow guide on how to support the people experiencing domestic abuse in their lives. Judge Titus served as the Judicial Advisor for the California Legislative Black Caucus' Black History exhibit which was on display in the Capitol Rotunda in Sacramento, in San Francisco in the Great Hall of the California Judicial Council and here, in Los Angeles, at the California African American Museum. The exhibit, entitled “And Justice for All,” acknowledged and celebrated the 70th anniversary of the appointment of the first African American Superior Court judge to preside over a California courtroom as well as commemorated the 50th anniversary of the appointment of the first African American Appellate Court justice. Judge Titus has also participated in the Superior Court's “Adoption Day” where she finalized the adoption of over 40 children into loving homes and she has administered the oath of office to numerous public officials and civic leaders. Prior to her election, she enjoyed a 15-year career as a criminal prosecutor with the Los Angeles County District Attorney's Office. A top-level felony trial attorney, she established a reputation for excellence in trial and received national media acclaim when she convicted a prominent Ladera Heights businessman of the domestic violence drowning murder of Michael Jackson's former sister-in-law, Delores “Dee Dee” Jackson, who was the former wife of Tito Jackson of the Jackson 5. In the trial of this case, she worked with the Trial Support Department of the DA's Office to draw a female autopsy figure so that the victim's 58 blunt force traumatic injuries could be accurately detailed. The female autopsy form remains in use to date. Prior to her trial, all victims had been depicted using a male autopsy figure. Her successful prosecution of this case was profiled on Court TV and is highlighted in the book, “For the People,” which chronicles the history of high-profile prosecutions in the Los Angeles County District Attorney's office from 1850-2000. While in the DA's office, Judge Titus wrote the first draft of legislation now known as “The Safely Surrendered Baby Law (S.B. 1368).” Under this legislation, within 72-hours of birth, a mother may surrender her newborn child confidentially at an emergency room or fire station without fear of prosecution for child endangerment or abandonment. Judge Titus is a charter and life member of the Association of African American California Judicial Officers, the California Association of Black Lawyers, Black Women Lawyers Association of Los Angeles, Inc., and the John M. Langston Bar Association. She is a member of the American Bar Association Judicial Council, California Judges Association, National Bar Association Judicial Council and the National Association of Women Judges. Judge Titus is a past president of Black Women Lawyers of Los Angeles, Inc., a former trustee of the Los Angeles County Bar Association, and a former board member of the National Bar Association, California Women Lawyers, John M. Langston Bar Association, Multicultural Bar Alliance, and Women Lawyers Association of Los Angeles. Judge Titus was born and raised in Los Angeles. She received her bachelor's degree from Stanford University and juris doctorate from the UCLA School of Law. Judge Titus is a member of the Harbor Area Chapter (CA) of The Links, Incorporated and the Los Angeles Alumnae Chapter of Delta Sigma Theta Sorority, Inc. She is also a Registered Parliamentarian and a member of the National Association of Parliamentarians and a member of Toastmasters International with the designation of Distinguished Toastmaster. In her free time, Judge Titus enjoys exercising, shopping, traveling and Happy Planning.

In this episode, Eric sits down with the talented and celebrated June Edmonds who describes her journey of becoming an artist... from deciding to pursue art, majoring in art at college, to furthering her studies under the mentorship of esteemed artists, to eventually developing her own unique style and exhibiting her work at renowned galleries and art fairs around the world. For more visit: www.ericsperspective.comGuest Bio: June Edmonds uses abstract painting to explore how color, repetition, movement, and balance can serve as conduits to spiritual contemplation and interpersonal connection to her African-American roots. Exploring the psychological construct of skin color or tone through pattern and abstract painting has proven to be a revealing gesture and these ideas are explored in her two ongoing series: the Energy Wheel Paintings inspired by her meditation practice and her Flag Paintings, which explore the alignment of multiple identities such as race, nationality, gender, or political leanings.June Edmonds was born 1959 in Los Angeles, where she lives and works. Edmonds received her MFA from Tyler School of Art, Philadelphia, and a bachelor’s degree from San Diego State University. She also attended Skowhegan School of Painting and Sculpture and is the recipient of the inaugural 2020 AWARE Prize, presented by the French non-profit Archive of Women Artists Research and Exhibitions; a 2018 City of Los Angeles Individual Artist Grant (COLA) and Exhibition at the Los Angeles Municipal Art Gallery; a California Arts Council Individual Artist Grant. Edmonds has exhibited at the California African American Museum, the Los Angeles Municipal Art Gallery, Luckman Fine Art Gallery at CalState Los Angeles, Watts Tower Art Center in Los Angeles, CA; Angels Gate Art Center in San Pedro, CA; and the Manhattan Beach Art Center in Manhattan Beach, CA. Edmonds has completed several works of public art with the city of Los Angeles and the Department of Cultural Affairs, including an installation at the MTA Pacific Station in Long Beach, CA. Her paintings are held in collections throughout the United States including the California African American Museum, Los Angeles; Mead Art Museum, Amhurst College, Amhurst, MA; as well as Rodney M. Miller Collection, New York, NY; Michael Rubel Collection, Los Angeles, CA and Andrew Forsyth Collection, Palm Beach, FL among others. About Eric's Perspective: A podcast series on African American art with Eric HanksEric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ARTSUBSCRIBE: http://bit.ly/2vVJkDnLISTEN ON: APPLE PODCASTS: https://apple.co/3hlR0RQSPOTIFY: https://spoti.fi/3fTsB5YGOOGLE PODCASTS: https://bit.ly/3fNNgrYConnect with us ONLINE: Visit ERIC'S PERSPECTIVE WEBSITE: https://bit.ly/2ZQ41x1FACEBOOK: https://bit.ly/3jq5fXPINSTAGRAM: https://bit.ly/39jFZxGTWITTER: https://bit.ly/2OMRx33www.mhanksgallery.comAbout Eric Hanks: African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission… was one of the leading representatives of Black artists through his Santa Monica gallery, M. Hanks Gallery, founded in 1988. By selling their works nationally, contributing to museum collections, and publishing catalogs, Hanks has helped create an audience and market for these artists. Hanks is currently a commissioner on the Los Angeles County Arts Commission.

Episode No. 472 features artist Bisa Butler and curator Malcolm Daniel. The Art Institute of Chicago is showing "Bisa Butler: Portraits," a presentation of Butler's recent art along with some works from the AIC's collection that have informed Butler. The exhibition, which the AIC co-organized with the Katonah Museum of Art, was curated by Erica Warren. It will be on view in Chicago through April 19, 2021. Butler's work will also be included in the Toledo Museum of Art's "Radical Tradition: American Quilts and Social Change," which examines how artists and other makers have used quilts to address America's present and future between the Civil War era and the present. The exhibition was curated by Lauren Applebaum and will be on view through February 14, 2021. Butler's work frequently addresses African diasporic history, American art and the transit of textiles around the globe. Her work is in the collections of the Museum of Fine Arts, Boston, the Minneapolis Institute of Art, the Nelson-Atkins Museum of Art and the AIC. Among her many group show credits is "Plumb Line: Charles White and the Contemporary" at the California African American Museum, which she and host Tyler Green mention on the program. With the Museum of Fine Arts, Houston opening its new Kinder Building this week, the program includes the first of two conversations with two leading MFAH curators about their new galleries and collection presentations. This week's program features MFAH photography curator Malcolm Daniel. The MFAH features one of America's top photography collections.

Tune into the fifth digital edition of #InTheStudio with #ArtAboveReality as we visit the studio workspace of LA based artist #AprilBey! (@aprilbey_), this FRIDAY at 11a! *pacific. • #InTheStudio: The series offers an inside look into the studio practice of the visual artist. From fabricated materials and works in progress to exhibition preparation, viewers get a chance to understand and experience the process firsthand. • The Artist: April Bey grew up in the Caribbean (Nassau, Bahamas) and now resides and works in Los Angeles, CA as a contemporary visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, contemporary pop culture feminism, generational theory, social media, AfroFuturism and constructs of race. • She received her BFA in drawing in 2009 from Ball State University and her MFA in painting in 2014 at California State University, Northridge in Los Angeles. Bey is in the permanent collection of The California African American Museum, The National Art Gallery of The Bahamas and The Current, Baha Mar in Nassau, Bahamas. Bey has exhibited internationally in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa. • April has launched 3 solo exhibitions: Picky Head at Liquid Courage Gallery in Nassau, Bahamas, COMPLY at Coagula Curatorial in Chinatown, Los Angeles and most recently MADE IN SPACE at Band of Vices Gallery in West Adams. • April travels extensively to collect data for her work having traveled to Canada, Iceland, London, Bali, Dubai, Morocco, Senegal, Nigeria, Benin, Togo and Ghana, West Africa. Bey is both a practicing contemporary artist and art educator having taught a controversial course at Art Center College of Design called Pretty Hurts analyzing process-based art and Beyoncé hashtag faux feminism. • #ArtAboveReality

Javon Johnson is an Assistant Professor and Director of African American & African Diaspora studies and holds an appointment in Gender & Sexuality Studies in the Interdisciplinary, Gender, and Ethnic Studies Department at the University of Nevada, Las Vegas. He received his Ph.D. in Performance Studies with a certificate in Gender Studies and Cognate in African American Studies from Northwestern University in 2010. Dr. Johnson’s scholarly interests include performance, blackness, African American literature, black pop culture, slam and spoken word, black feminist theory, black queer theory, masculinity studies, black sexualities, and ethnography.Dr. Johnson’s first book, Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities (Rutgers University Press 2017), unpacks some of the complicated issues that comprise performance poetry spaces and argues that the truly radical potential in slam and spoken word communities lies not just in proving literary worth, speaking back to power, or even in altering power structures, but instead in imagining and working towards altogether different social relationships. His second project, The End of Chiraq: A Literary Mixtape (Northwestern University Press (2018) is a co-edited book that critically creatively explores Chiraq (a name that is an amalgamation of Chicago and Iraq as a way to call to the violence of certain parts of Chicago) as a space and as a term. Additionally, Dr. Johnson has published in Text & Performance Quarterly, Liminalities, QED: A Journal of Queer Worldmaking, The Root, Huffington Post, and others.Currently finishing up his first book of poems, Dr. Johnson is a creative scholar who has mounted exhibitions at the California African American Museum where he managed the History Department. A renowned spoken word poet, he is a three-time national poetry slam champion, a four-time national finalist, and has appeared on appeared on HBO’sDef Poetry Jam, BET’s Lyric Café, TVOnes Verses & Flow, The Steve Harvey Show, The Arsenio Hall Show, United Shades of America with Kamau Bell on CNN, and co-wrote a documentary titled Crossover, which aired on Showtime, in collaboration with the NBA and Nike.

Episode Thirty-Three features Derrick Adams. He was born in Baltimore, Maryland in 1970. He received his MFA from Columbia University and BFA from Pratt Institute. Adams has been the subject of numerous solo shows, including exhibitions at the Museum of Arts and Design, NY, the Museum of Contemporary Art, Denver, the California African American Museum, LA, and the Brooklyn Academy of Music. Adams’ work has been presented in public exhibitions, including Men of Change: Power. Triumph. Truth. (2019) by the Smithsonian Institution; PERFORMA (2015, 2013, 2005); The Shadows Took Shape (2014) and Radical Presence (2013–14) at The Studio Museum in Harlem. His work resides in the permanent collections of The Metropolitan Museum of Art, The Studio Museum in Harlem, the Virginia Museum of Fine Arts, and the Whitney Museum of American Art. www.derrickadams.com https://madmuseum.org/exhibition/derrick-adams-sanctuary https://studiomuseum.org/press-release/derrick-adams-patrick-kelly-journey https://www.hrm.org/exhibitions/derrick-adams/

Eric sits down with professor and longtime civil rights activist Paul Von Blum, who describes his experiences during the civil rights movement and his involvement in helping to pave the way for the recognition of African American art and the establishment of African American studies. For more visit: www.ericsperspective.comGuest Bio: Paul Von Blum is Senior Lecturer in African American Studies and Communication Studies at UCLA. He has taught at the University of California since 1968, serving 11 years at UC Berkeley before arriving at UCLA in 1980. He is the author of six books and numerous articles on art, culture, education, and politics. His most recent book is “A Life at the Margins: Keeping the Political Vision,” his 2011 memoir that chronicles almost 50 years of political activism, starting with his civil rights work in the South and elsewhere in the early 1960s. He is the author of three books on art and society as well as numerous articles on art, politics, culture, education and law including "Resistance Art in Los Angeles," Unmasking L.A.: Third Worlds and the City. "Decades of Dignity: The Art of William Pajaud," The Sights and Sounds of My New Orleans, in conjunction with an art exhibition of the same name at the California African American Museum, Los Angeles, curated by Samella Lewis, "Not as Strange as it Seems: Bioethics and Art," Bioethics: Thresholds of Corporeal Completeness, in conjunction with an art exhibit of the same name at Side Street Projects, Santa Monica, California, Side Street Press. His book "Resistance, Dignity and Pride: African American art in Los Angeles" was published by the UCLA Center for African American Studies.About Eric's Perspective: A podcast series on African American art with Eric HanksEric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ARTSUBSCRIBE: http://bit.ly/2vVJkDnLISTEN ON: APPLE PODCASTS: https://apple.co/3hlR0RQSPOTIFY: https://spoti.fi/3fTsB5YGOOGLE PODCASTS: https://bit.ly/3fNNgrYConnect with us ONLINE: Visit ERIC'S PERSPECTIVE WEBSITE: https://bit.ly/2ZQ41x1Like ERIC'S PERSPECTIVE on FACEBOOK: https://bit.ly/3jq5fXPFollow ERIC'S PERSPECTIVE on INSTAGRAM: https://bit.ly/39jFZxGFollow ERIC'S PERSPECTIVE on TWITTER: https://bit.ly/2OMRx33www.mhanksgallery.comAbout Eric Hanks:African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission… was one of the leading representatives of Black artists through his Santa Monica gallery, M. Hanks Gallery, founded in 1988. By selling their works nationally, contributing to museum collections, and publishing catalogs, Hanks has helped create an audience and market for these artists. Hanks is currently a commissioner on the Los Angeles County Arts Commission.

Episode Thirty features Nicole Awai. She earned her Master’s Degree in Multimedia Art from the University of South Florida in 1996. She attended the Skowhegan School of Painting and Sculpture residency in 1997 and was artist in residence at the Studio Museum in Harlem in 2000. Awai was a featured artist in the 2005 Initial Public Offerings series at the Whitney Museum of American Art and was awarded the Joan Mitchell Foundation Painters and Sculptors Grant in 2011 and an Art Matters Grant in 2012. Her work has been included in seminal museum exhibitions including Greater New York: New Art in New York Now, at P.S. 1/ MOMA (2000), the Biennale of Ceramic in Contemporary Art, Italy (2003), Open House: Working in Brooklyn (2004), Infinite Island: Contemporary Caribbean Art (2007) both at the Brooklyn Museum; the 2008 Busan Biennale in Korea; The Pacific Standard Time: LA/LA II, A Getty Initiative exhibitions Circles and Circuits I: History and Art of the Chinese Caribbean at the California African American Museum and Circles and Circuits II: Contemporary Art of the Chinese Caribbean at the Chinese American Museum, along with Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at the Museum of Latin American Art and the High Line Network exhibition New Monuments for New Cities. Her work has also been exhibited at the Queens Museum, Kemper Museum of Contemporary, Portland Museum of Art, Delaware Art Museum, Philip Frost Art Museum FIU, the Vilcek Foundation and the Biennale of the Caribbean in Aruba(2013). Other recent exhibitions include Splotch at Sperone Westwater, NY. Figuring the Floral, Wave Hill, NY; Summer Affairs at Barbara Davis Gallery, Houston, TX and Nicole Awai: Envisioning the Liquid Land at Lesley Heller Gallery, NY. Awai was a Critic at the Yale School of Art in the Department of Painting and Printmaking from 2009-2015 and is currently faculty in the Department of Art and Art History at the University of Texas at Austin. Awai is represented by Barbara Davis Gallery in Houston, TX.

In this episode, Eric sits down with art collector and patron of African American art; Dr. Joy Simmons who describes her journey of discovering art at a young age while in Medical school. They explore her passion for collecting and supporting African-American artists.Guest Bio: A radiologist at Kaiser Permanente Los Angeles Medical Center for 37 years, Joy masterfully juggles her passion for patients with her love of art. She has been an avid collector of contemporary African-American art for three decades. A committed supporter of AfricanAmerican artists, she is a passionate advocate of arts patronage and civic engagement. In addition to serving on boards for Santa Monica Museum of Art (SMMoA), Stanford University, and The Mistake Room, her extensive and growing collection has been featured in exhibitions around the world from the Tate Modern in London to California African American Museum in Los Angeles. Furthermore, her eye for spotting talent has earned her recognition in NY Magazine's The Cut, W Magazine, Ebony Magazine, and The Wall Street Journal. Whether traveling to Cuba, Berlin or Harlem to visit artists’ studios and art biennials, Joy is deeply committed to supporting the work of both established and emerging African-American artists. Joy is currently working as the Senior Art and Exhibition Advisor for Destination Crenshaw.About Eric's Perspective: A podcast series on African American art with Eric HanksEric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com

The 7 Mile girl, Jamea Richmond-Edwards joins the podcast to talk about her amazing mixed media work. Her work centers Black woman fully and unapologetically. She crafts narratives around her life experiences growing up in Detroit in the 90’s. We talk about her inspirations from Ebony magazine spreads, to Howard and beyond. It’s another great conversation with one of the best contemporary Black artists in the world.Jamea Richmond-Edwards graduated with a Bachelor of Arts degree from Jackson State University in 2004 where she studied painting and drawing. She went on to earn an MFA from Howard University in 2012. She offers a repertoire of portraits of women drawn using ink, graphite and mixed media collage. Richmond-Edward’s work has garnered the attention of various art critics including in the Washington Post and the Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know”. Richmond-Edwards has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit, MI and Galerie Myrtis In Baltimore Maryland. Her works are in the permanent collection of private collectors across the country including the Embassy of the United States in Dakar, Senegal.See more: https://www.jamearichmondedwards.com/ + @jamearichmondedwardsRead the Studio Noize Artist FeatureEpisode TranscriptThe Studio Noize question of the week is:What organizations are you supporting that are supporting Black artists?Let us know your answers on IG @studionoziepodcast or by email at studionoizepodcast@gmail.comFollow us:StudioNoizePodcast.comJamaal Barber: @JBarberStudioJasmine Nicole: @Negress.SupremeCheck out our sponsor National Black Arts at nbaf.org/

Historians have the responsibility not only to unearth facts, but to uncover and lift up stories that have been traditionally ignored or excluded. This calling is all the more important in the midst of global pandemic -- and after the murder of George Floyd exposed anew the burdens of oppression against the Black community in the United States. Tyree Boyd-Pates, associate curator at the Autry Museum of the American West, sees his role as a public historian as "combatting the historical amnesia and malaise surrounding the Black experience.” In this week's episode, Tyree discusses his work in collecting and documenting people's experiences of the COVID-19 pandemic (as reported recently in The New York Times).  He also speaks of his prior work as curator at the California African American Museum, including his work on the show titled “No Justice, No Peace” marking the 25th anniversary of the 1992 LA Uprising.For information about Tyree's and The Autry's response to the current moment in the Black Lives Matter movement, please click here.

May 27, 2020 Hello internet, it's Jerry Gogosian. I hope you and your family are doing well in these troubling times. It's been a while since I last released an episode of the podcast. Like many of you, life got real real and I have had to really focus on the brass and tacks for a while. However, during all of this, I’ve had the privilege of reflection. Time to finally start absorbing the reality of where we’ve come to as a species, as a culture, as a community of art lovers, as an industry… The inevitability of change is here and its time to start deciding what we want to do about it. (This is a longer conversation meant for another time.) ***But, I'm good. There will be several more podcast releases in the coming weeks so you have that to look forward to. For this episode, I decided to speak with the artist Kenturah Davis about her paintings and her practice's relationship liminality, language, and how textiles manage to weave their way into the history of human communication. It was truly a pleasure and I hope you enjoy our conversation as much as I did. But before we get started, I wanted to announce that after much searching for a quality Zoe + Chloe, I think I’ve found him. That's right. His name is Gunner Dongieux. I decided to record our interview to get your opinion. What do you think? Is he a good hire? Is he a Zoe or a Chloe? ________ Kenturah Davis lives and works in Los Angeles, CA with regular trips to Accra, Ghana. The artist earned her BA from Occidental College, CA and MFA from Yale University School of Art in 2018. Davis recently opened her first solo institutional exhibition, Everything That Cannot Be Known at the Savannah College of Art and Design Museum (SCAD) in February (2020). Other solo and two-person exhibitions include Blur in the Interest of Precision, Matthew Brown Los Angeles (2019); a two-person exhibition with Desmond Lewis at Crosstown Arts, Memphis, TN in coordination with the traveling venue, Seed Space (2019); and Narratives and Meditations (2014) and sonder (2013), Papillion, Los Angeles. Public projects include Four Women, a commissioned mural by Alliance Francaise to commemorate International Women’s Day, in Accra, Ghana and Metamorphose, comprised of five portraits commissioned by architect Elliott Barnes, featured in Barnes’ installation at the Lâ Exposition AD Interieurs, Paris, France. Her work has been in institutional presentations in Africa, Asia, Australia, and Europe. Recent exhibitions include Plumb Line: Charles White and the Contemporary, curated by Essence Harden and Leigh Raiford at the California African American Museum, Los Angeles, CA (2019); Punch, curated by Nina Chanel Abney, at Jeffrey Deitch, Los Angeles, CA (2019); and Afrocosmologies: American Reflections, at the Wadsworth Atheneum Museum of Art, Hartford, CT (2019). Other notable institutional exhibitions include: Must Risk Delight, organized in collaboration with the 56th Venice Biennale (2015); Linked in Tradition, Inspiring in Vision: A Selection of Works by African American Women Artists, Robert and Frances Museum of Art, San Bernadino, CA (2017); Black Joy, Yale University, New Haven, CT (2016); We Must Risk Delight, at the Accademia di Belle Arti di Venezia, Venice Biennale (2015); The Silence of Ordinary Things, The Mistake Room, Los Angeles (2015); i:23, The Yokohama Triennial, Yokohama, Japan (2014); An American Water Margin, Ucity Museum, Guangzhou, China (2014); Mass Attack, Torrance Art Museum, Torrance, CA (2013); and Mis-Design, Ian Potter Museum, Melbourne, Australia (2011). --- Send in a voice message: https://anchor.fm/jerrygogosian/message

August 29 – October 22, 2016Kathleen O. Ellis GalleryLecture: Friday, October 7, 6pmReception: Friday, October 7, 6-8pmFor his exhibition A Place That Looks Like Home, artist Todd Gray re-frames and re-contextualizes images from his personal archive that spans over forty years of his career as a photographer, sculptor and performance artist. Gray describes himself as an artist and activist who primarily focuses on issues of race, class, gender and colonialism.His unique process of combining and layering a variety of images and fragments of images allows him the opportunity to create his own history and “my own position in the diaspora.” Working with photographs of pop culture, documentary photographs of Ghana (where he keeps a studio), portraits of Michael Jackson, gang members from South Los Angeles and photo documentation from the Hubble telescope, Gray asserts what he refers to as his own polymorphous identity that defies definition. Inspired by the work of cultural theorist Stuart Hall, Gray invites the viewer to participate in an “ever-unfinished conversation about identity and history."lg.ht/ToddGray—Todd Gray lives and works in Los Angeles and Ghana. He received both his BFA and MFA from the California Institute of the Arts. He is Professor Emeritus, School of Art, California State University, Long Beach. Gray works in multiple mediums including photo-based work, sculpture and performance. Past solo and group exhibitions include: Hammer Museum, Los Angeles; Studio Museum, Harlem, NY; USC Fisher Museum of Art, Los Angeles; Luckman Gallery, Cal State University, Los Angeles; California African American Museum, Los Angeles; Tucson Museum of Art; Detroit Museum of Art; Renaissance Society, University of Chicago, among others. Performance works have been presented at The Roy & Edna Disney Cal/Arts Theater; (REDCAT), Los Angeles; Academy of Media Arts, Cologne, and the Japanese American National Museum, Los Angeles. His work is included in the permanent collections of the National Gallery of Canada; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the University of Connecticut and the Studio Museum, Harlem, NY. Gray is a Rockefeller Foundation Bellagio Center Resident Fellow. He is represented by Meliksetian | Briggs Gallery in Los Angeles, California. Gray participated in Light Work's Artist-in-Residence program in July 2007.toddgrayart.com—Special thanks to Marcia Dupratmarciaduprat.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: CAMP by Vir NocturnaMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

Jamal Cyrus (born 1973, Houston, TX) received his BFA from the University of Houston in 2004 and his MFA from the University of Pennsylvania in 2008. In 2005 he attended the Skowhegan School of Painting and Sculpture, and in 2010 he was an Artist in Residence at Artpace San Antonio. Cyrus has won several awards, including the Driskell Prize, awarded by the High Museum of Art, Atlanta, GA; a BMW Art Journy; the Louis Comfort Tiffany Foundation Award; the Artadia Houston Award, and the Smithsonian Artist Research Fellowship. He has participated in national and international exhibitions, including Direct Message: Art, Language and Power at the Museum of Contemporary Art, Chicago, IL (2019); The Freedom Principle: Experiments in Art and Music, 1965 – Now, Museum of Contemporary Art Chicago, Chicago, IL (traveled to ICA Philadelphia, 2016); Arresting Patterns, ArtSpace, New Haven, CT (traveled to the African American Museum in Philadelphia, 2016); two exhibitions at the Studio Museum, Harlem (both 2013); the Contemporary Arts Museum, Houston (2012); the New Museum, New York (2011); The Kitchen, New York (2009); the Museum of London Docklands, London (2009); and The Office Baroque Gallery, Antwerp (2007). In 2006 Cyrus was included in Day for Night, the 2006 Whitney Biennial at the Whitney Museum of American Art.Cyrus is also a member of the artist collective Otabenga Jones and Associates. As a member of the collective, Cyrus has exhibited at Lawndale Art Center, Houston (2014), Project Row Houses, Houston (2014), the High Museum of Art, Atlanta (2008), the Smithsonian National Museum of African American History and Culture, Washington, DC (2008), the California African American Museum, Los Angeles (2008), the Menil Collection, Houston (2007), the 2006 Whitney Biennial, and Clementine Gallery, New York (2006). Cyrus’s and Otabenga Jones's work has been reviewed in Artlies, The Houston Chronicle, Houston Magazine, and The New York Times. Cyrus participated in the New Orleans triennial, Prospect.4, with Otabanga Jones.Jamal Cyrus lives and works in Houston, TX.https://inmangallery.com/index.htmlhttps://inmangallery.com/artists/cyrus_jamal/bio.htmlhttps://twitter.com/photogsofcolorhttps://www.instagram.com/photogsofcolor/?hl=enhttps://fulbright.uark.edu/departments/art/https://www.photographersofcolor.org/

Remember Cross Colours? The LA-based urban streetwear line was a hit in the early 90s, with bright, bold designs and uplifting messages about unity. Now the label is back, and the California African American Museum is celebrating with a retrospective that shows its impact on the mainstream fashion industry. Plus, Forever 21 may not last forever. But the demand for cheap clothing has not gone away. Fashionopolis author Dana Thomas tells DnA about the human and environmental costs of fast fashion, and how we can slow it down.

Max Weinstein and Sean-Michael Bowles lead you through The California African American Museum in Los Angeles CA. They critique blankets, discover the most diverse boy band of the 1900's, and discuss the ethical ramifications of black people wearing black face. 

Join us for a conversation between creatives about Shinique Smith’s practice, and how growing up in Baltimore influenced her path as an artist. Shinique Smith is known for her monumental works of bundled fabric, calligraphy and collage inspired by the vast nature of ‘things’ that we consume and discard, which resonate on a spiritual and social scale. Her work demonstrates how connections can be made between materials in ways that challenge us to think differently about the life of our belongings. Based in Los Angeles, born and raised in Baltimore, Shinique Smith is an artist known for her monumental paintings and sculptures of  fabric, clothing, and calligraphy inspired by the wonder found within the vast nature of “things” we call belongings. Recent solo exhibitions include the California African American Museum, Museum of Fine Art, Boston; and an upcoming presentation with UBS Art Collection in Miami Art Basel and the UBS Art Gallery, NY. Her work is currently on view in Generations: A History of Black Abstraction at The Baltimore Museum of Art where Shinique will be presenting a new performance January 11th 2020. Cara Ober writes about Baltimore's unique cultural landscape from the perspective of an artist, feminist, and culture worker. She approaches the art community from a constructive and critical perspective informed by material and pop culture, history, social movements, and politics. As the founding editor of BmoreArt, Baltimore's daily online art magazine and biannual print journal, Ober has written critical reviews, essays, interviews, and opinion editorials for the past decade about contemporary art, museum culture, and the innovative ways artists sustain a professional creative practice. Ober has taught and lectured at MICA, Johns Hopkins University, American University, UMBC, Towson University, and Goucher College. She holds an MFA in painting from MICA and a degree in fine arts from American University. BmoreArt is Baltimore's art and culture magazine, based both in print and online. We are a community-based, independent art publication that reflects the culture of Baltimore and the surrounding Mid-Atlantic region, including Maryland, Washington, DC, and Northern Virginia. We provide creative and critical coverage of Baltimore’s cultural landscape and work with a diverse team of local writers, editors, and artists. In addition to our online and print publications, we engage through social media and a events, including biannual magazine launch events and speaker series.Re-opening activities are made possible in part by a generous gift from Sandra R. Berman.This program is part of ongoing 2020 Women's Vote Centennial Initiative conversations at the Pratt Library.Recorded On: Thursday, January 9, 2020

Join us for a conversation between creatives about Shinique Smith’s practice, and how growing up in Baltimore influenced her path as an artist. Shinique Smith is known for her monumental works of bundled fabric, calligraphy and collage inspired by the vast nature of ‘things’ that we consume and discard, which resonate on a spiritual and social scale. Her work demonstrates how connections can be made between materials in ways that challenge us to think differently about the life of our belongings. Based in Los Angeles, born and raised in Baltimore, Shinique Smith is an artist known for her monumental paintings and sculptures of  fabric, clothing, and calligraphy inspired by the wonder found within the vast nature of “things” we call belongings. Recent solo exhibitions include the California African American Museum, Museum of Fine Art, Boston; and an upcoming presentation with UBS Art Collection in Miami Art Basel and the UBS Art Gallery, NY. Her work is currently on view in Generations: A History of Black Abstraction at The Baltimore Museum of Art where Shinique will be presenting a new performance January 11th 2020. Cara Ober writes about Baltimore's unique cultural landscape from the perspective of an artist, feminist, and culture worker. She approaches the art community from a constructive and critical perspective informed by material and pop culture, history, social movements, and politics. As the founding editor of BmoreArt, Baltimore's daily online art magazine and biannual print journal, Ober has written critical reviews, essays, interviews, and opinion editorials for the past decade about contemporary art, museum culture, and the innovative ways artists sustain a professional creative practice. Ober has taught and lectured at MICA, Johns Hopkins University, American University, UMBC, Towson University, and Goucher College. She holds an MFA in painting from MICA and a degree in fine arts from American University. BmoreArt is Baltimore's art and culture magazine, based both in print and online. We are a community-based, independent art publication that reflects the culture of Baltimore and the surrounding Mid-Atlantic region, including Maryland, Washington, DC, and Northern Virginia. We provide creative and critical coverage of Baltimore’s cultural landscape and work with a diverse team of local writers, editors, and artists. In addition to our online and print publications, we engage through social media and a events, including biannual magazine launch events and speaker series.Re-opening activities are made possible in part by a generous gift from Sandra R. Berman.This program is part of ongoing 2020 Women's Vote Centennial Initiative conversations at the Pratt Library.

For 20 years, CulturalDC has been making space for art. That includes physical places like galleries, theaters and affordable housing for artists. But it also includes making space in the conversation for art. We’re excited to bring you the second episode in our podcast series with our friends at Caandor Labs. On this episode, we hear from Mobile Art Gallery artist Jamea Richmond-Edwards about her exhibit Stay Fly, on view at CityCenterDC through April 13. She’s joined by Desiree Venn Frederic and Howard University Professor Dr. Melanee Harvey. They talk about fashion and the power of the Black consumer. Thanks to our friends at Eaton for hosting this important and timely conversation. Jamea Richmond-Edwards has exhibited her artwork nationally and internationally including the Delaware Art Museum, California African American Museum, Charles Wright Museum in Detroit MI and her current representation Kravets Wehby Gallery. Desiree Venn Frederic is the founding director of Combing Cotton Co., a think tank and social equity firm and The Venn Frederic Fashion Library and Institute of Material Culture. Dr. Melanee Harvey has published extensively on Black Arts Movement artists including Faith Ringgold, James Phillips and African Commune of Bad Relevant Artists (AfriCOBRA).

Produced in partnership with Frieze Los Angeles, this live recording is a conversation with major Californian institutional leaders Naima J. Keith (Deputy Director, California African American Museum), Michael Govan (CEO and Wallis Annenberg Director, Los Angeles County Museum of Art), Andrew Perchuk, (Deputy Director, Getty Research Institute), Megan Steinman (Director, The Underground Museum), moderated by our host Charlotte Burns. Taking as a starting point the research published by In Other Words and artnet News, which examined the representation of African American artists in US museums and the international market, our panelists talk about the ways in which they are working to broaden the canon, and think specifically about local communities.  Transcript: http://www.artagencypartners.com/transcript-frieze-la/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

Do you enjoy working with people, artifacts, and history? Exactly what is a “Special Library”? Join Robin Dodge, Head Librarian of the Fashion Institute of Design & Merchandising (FIDM); Julie Huffman, Genealogy Librarian at the Los Angeles Public Library & Denise L. Mc Iver from the California African American Museum.

http://annettbone.com/wp-content/uploads/2018/11/African-American-Culture.png ()The truest expression of a people is in its dance and in its music. Bodies never lie. ~Agnes de MilleThere are times when the simple dignity of movement can fulfill the function of a volume of words.~Doris HumphreyBackslide, Apple Jack, Lockin, Electric Boogaloo, Urban Cha cha, and hip hop--what do you picture when you hear these words? If you know your dance history, these are dances and dance traditions from African American Culture. You know that saying, you don't know what you don't know? Well it turns out, not surprisingly that there was a lot I didn't know about these dance forms and traditions until I got to hear an engaging and entertaining discussion with dancer and dance historian E. Moncell Durden and curator Vida L. Brown at the California African American Museum in Los Angeles. From video clips, to demonstrations, to dialogue, I loved this experience and I'm going to share a number of things that stood out to me. This is in no particular order: Dancing for life's sake, versus dancing for arts' sake was the origin of many dance forms. Dance as worship. The style of KRUMP releasing negative energy. It's free, it can be exaggerated and energetic and it's a non-violent way to release this negative energy. Kingdom Radically Uplifted Mighty Praise is the acronym. I've observed cyphers in the past month and I didn't know it is a form of bonding. The circle is a space where there is encouragement. Finding and claiming space for one's own identity is the purpose behind many of these dance forms. The Soul Train Line--the dance/music show from 70's was about building community. There was no lead person and license to be your own person. You have that support as a whole but have the freedom of individuality. I love that! The evolution of dances, where what you see, has been done before. Seeing historical footage via images and video in comparison with more current media is proof of reinvention and repurposing. Earth vs heaven. Earth being grounded vs. European dance forms where there is more reach to the sky (heaven). There exists a Eurocentric ideology of the hierarchy of dance that certain forms are more important than others. I'm all about studying different styles and it's critical to know that one style is not more valuable than another. We haven't realized the value of gestures, and there is so much meaning behind them. I am fascinated with dance styles that use hand gestures, similar to mudras in Yoga. [youtube https://www.youtube.com/watch?v=veIK_CarrPA] [youtube https://www.youtube.com/watch?v=3P_nS9bwA58] Links from this session:http://annettbone.com (Get my FREE Audio Resource) https://kaufman.usc.edu/faculty/moncell-durden/ (E. Moncell Durden) https://caamuseum.org/programs/current/in-conversation-e-moncell-durden-and-vida-l-brown (Vida L. Brown) https://caamuseum.org/ (California African American Museum) https://www.redbull.com/us-en/the-importance-of-the-cypher (Cyphers) Would you review The DancePreneuring Studio?I would be extremely appreciative if you would subscribe and leave your feedback on Apple Podcasts or Stitcher Radio. It really helps if you do it through the native Apple Podcast App on your smart device. Thanks so much!    

”The amount you’re being paid does not validate you.”   SPONSORED BY GIRL BOSS STOCK Use code TRFE to get 50% off your first month (only $15) http://bit.ly/girlbosstrfe   WHAT'S IN THIS EPISODE? Follow your passion, not the paycheck. Spoiler alert: that’s the moral of the story. It isn’t the entire story, though, and JJ Anderson’s story is one you’re going to want to listen to. It isn’t some finely tuned inspirational speech encouraging you to dig deep, pursue joy, and forget about the money. It’s a real life, raw, messy and beautiful account of one girl’s journey from dropping out of college to becoming the youngest talk show host in America at an independent sports television network to learning that the pursuit of money isn’t everything. We talk about… the unexpected life-changing advice professional boxer, Evander Holyfield gave JJ starting a video production company with no video production experience why making money the first priority is a mistake when your business partner is also your romantic partner how sitting in NA and AA meetings with her parents as a little kid taught her lessons that still drive her today   WHO IS JJ ANDERSON? At the age of 21, JJ Anderson earned the title of youngest talk show host in America at an independent sports television network. During this time, she worked side by side with Mortal Kombat producer and the station’s founder Larry Kassanoff to deliver original quality programming on an international platform. Through hosting, JJ was able to discover a true passion for connecting with others and so she quickly began to take on the role of a producer in order to be more hands on with the process. Recognizing the ample opportunity and freedom in digital media- JJ helped to establish LA based media + production company HRDWRKER with the mission of creating inspirational on- demand content. Through HRDWRKER, she strives to tell captivating stories and create awareness around important social issues. Since the company’s establishment in 2014, JJ has had the amazing opportunity to create segments and series for various world-renowned media corporations and entities such as: NYLON, Juxtapoz Magazine, The California African-American Museum, Topo Chico, and Eddie Bauer.   LINKS FROM THIS EPISODE: www.lynda.com www.storyandheart.com www.hrdwrker.com HRDWRKER on Instagram and Facebook HRDWRKER on Youtube Episode 122 with Lizzy Okoro

Spring 2017: NK went to a panel at the California African-American Museum in Los Angeles. The dancer Taisha Pagget was in conversation with the curator Erin Christovale, and Taisha told Erin how her ballet training had institutionalized the natural rhythm out of her. Which made NK think about her own experiences in a graduate writing program — how her writing developed a double consciousness, and how she started going to parties in a cheap blonde wig and hot pink lipstick, a costume which she eventually called WHITE DRAG. This is her experience of literary passing. Original writing by Nicole Kelly. Produced by Elyssa Dudley. Bitchface is written, hosted, recorded, and produced by Nicole Kelly & Phoebe Unter.

This week we check in with Naima Keith and Ian Weaver...   Naima Keith Deputy Director of Exhibits and Programs at the California African American Museum and Chicago Art rocker and roller Ian Weaver join the show to talk about the Artadia Granting program, (COOK COUNTY - YOUR ARTADIA APPLICATIONS ARE DUE ON THE FIRST OF JUNE,) Museum Challenges, tindering artists, programing at CAAM, Pilsen and the Little Village, inventing histories for communities which have suffered erasure, the Black Knight Archive, and how facing the past helps us find the future. The T is rich this week with a bizarre and public fight on Facebook between two prominent Chicago Art worlders, the South Side Weekly digs deep into Theaster Gate's Rebuild Foundation, and the Chicago Torture Justice Center Opens today!  

For the fifth episode of "In Other Words", we welcome Ian Alteveer, an associate curator at the Metropolitan Museum of Art; Allan Schwartzman, the co-founder of AAP and chairman, Sotheby's Fine Arts Division; and Naima Keith, the deputy director of exhibits and programs at the California African American Museum, who joins us on the phone from Los Angeles. Together with host Charlotte Burns, senior editor at AAP, they will be discussing inequalities in the art world. "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm.

For the fifth episode of "In Other Words", we welcome Ian Alteveer, an associate curator at the Metropolitan Museum of Art; Allan Schwartzman, the co-founder of AAP and chairman, Sotheby’s Fine Arts Division; and Naima Keith, the deputy director of exhibits and programs at the California African American Museum, who joins us on the phone from Los Angeles. Together with host Charlotte Burns, senior editor at AAP, they will be discussing inequalities in the art world. "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm.

Melissa Febos joins Medaya and Kate to discuss Abandon Me, her new beautifully lyrical eight-chapter essay. In one of the most intimate dialogues to date on the LARB Radio Hour, Melissa talks not only about the life changing love affair, and her search for her birth father, that are the core of the book's narrative; but also draws us into how the world looks through the eyes of one of America's leading literary stylists. Also on this week's podcast, Naima Keith of the California African American Museum returns to recommend Issa Rae's The Misadventures of Awkward Black Girl.

Host Janice Rhoshalle Littlejohn talks with Naima Keith, the award-winning deputy director of the California African American Museum in Los Angeles about art, history, politics, and how they intersect. Naima also talks in detail about the new Spring Season at CAAM, which features five shows including exhibits of the work of New York based artist Derrick Adams, Los Angeles' own Kenyatta A C Hinkle, and a look back at the 1992 LA Uprising. Also, podcast superstar Karina Longworth returns to recommend Marcy Dermansky's novel The Red Car.

Jackie Stone is an award winning director/writer and a graduate of New York University's Tisch School of The Arts. Stone has a penchant for visual story telling, delivering poetic and precise work. Her films have screened at numerous festivals including the American Black Film Festival, Chicago International Film Festival, LA Film Festival Project Involve Showcase, Bermuda International Film Festival, Tallahassee International Film Festival, Durango International Film Festival, Langston Hughes African American Film Festival, Sistas Are Doin' It For Themselves Film Festival, BERC Film Festival, Martha's Vineyard African American Film Festival, Cannes Short Film Corner, California African American Museum and HBO Network. Stone has won numerous awards and grants for her work including: the Jerome Foundation Filmmaker Grant in 2011 and 2015, New York State Council of the Arts, Warner Brothers Production Grant, Vague Production Grant, Kodak Production Awards and the Fotokem Post Production Grant. She received The Best Short Film Award for her short IF I LEAP from The Harlem International Film Festival 2013, and was an AICP finalist for her spec commercial work. She was both a screenwriting finalist for the Sundance Institute and the Nickelodeon fellowship. She was a Project Involve Directing Fellow 2012-2013 and now serves as CEO and Chief Content Creator of Enchant TV, a digital network.