Podcast appearances and mentions of Carrie Mae Weems

Last weekend, the US President Donald Trump signed executive orders placing 25 percent tariffs on Mexico and Canada, which were due to take effect on Tuesday. But at the last minute, the tariffs were postponed, at least for a month. Inevitably, though, the talk of a trade war set nerves jangling at Zona Maco, the art fair in Mexico City, which opened on Wednesday. Ben Luke speaks to Ben Sutton, The Art Newspaper's editor, Americas, who is in the Mexican capital, about the prevailing mood, and about the effect on the art world more generally of some of Trump's executive orders. It is also the India Art Fair in Delhi this week. Our art market editor, Kabir Jhala, is there and tells us more about the fair amid the wider social and political climate in India. And this episode's Work of the Week is Henry Fitz Jr's self-portrait, a daguerreotype, made in January or February 1840. It is thought to be the first photograph of a person made in the United States. It features in a major show at the Rijksmuseum in Amsterdam, American Photography. We speak to Mattie Boom, Rijksmuseum's curator of Photography, about the work, and the wider show.Zona Maco, Mexico City, until 9 February.The India Art Fair, Delhi, until 9 February.American Photography, Rijksmuseum, Amsterdam, until 9 June. Carrie Mae Weems's 2021 series Painting the Town, Rijksmuseum, until the same date.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

With the 2025 Winter NOW Conference happening THIS WEEK, Janet Taylor joins Tim to talk about the highlights of the upcoming event.  This includes their excitement about everything coming the next 3 days, the wonderful keynote presentation from Carrie Mae Weems, and how teachers can make the most of their professional learning on Friday, Saturday, and Sunday. Join us at the NOW Conference January 31st, February 1st, and February 2nd, where we will share three days of PD that will have you inspired and excited for the rest of the school year!  Resources and Links Join the Art of Ed Community Find everything you need to know about the NOW Conference Listen to Tim's interview with presenter Abby Houston What Do You Want From Your Art Teacher Community?

Contemporary artist Pamela Phatsimo Sunstrum, and curator Diego Chocano, slip between places and times, reconstructing the landscape of Botswana in the centre of the city of London, through their filmic installation, It Will End in Tears (2024). Pamela Phatsimo Sunstrum's practice spans landscapes and media, encompassing painting, installation, and animation. Their drawings take the form of narrative landscapes, that seem simultaneously futuristic and ancient, playing with conventions of linear time. Referencing Octavia Butler's Parable of the Sower, and Pan's Labyrinth, a film by Guillermo del Toro, they often draw from literature, theatre, and sci-fi films - particularly in their slippery representations of people and places. Born in Botswana, and having worked in the US, Canada, South Africa, and the Netherlands, Pamela describes how her work has been shaped by these different contexts. They detail their transformative residency with tutor Arturo Lindsay in the rainforest in Panama, a Central American and Caribbean country on the coast, and how this inspired their representations of volcanic, subterranean, and cosmological environments. Seeing the landscape as ‘another character' in their their works, Pamela challenges the binary of landscape and figurative painting, and Western/European art historical conventions. Though It Will End in Tears is Pamela's first major UK solo exhibition, it is not their first in the city of London; we discuss their relationship with spaces across the capital, and its colonial histories. Curator Diego Chocano highlights how Pamela has both challenged and embraced conventions of Western/European art history, in their artistic and educational practices. We discuss the artist's academic approach, and ‘research' approach to art, which has inspired interdisciplinary collaborations including in the field of science, with theoretical physicist Dr. James Sylvester Gates. He details the artist's interest in performance and artifice, drawing on film noir, wooden theatre sets, and the figure of the femme fatale for this body of work. We discuss how Pamela's self-constructed alter ego, Asme, enables the artist more freedom of creative expression, and the ability to resist categorisation by identity, biography, or subjectivity. ⁠Pamela Phatsimo Sunstrum: It Will End in Tears⁠ runs at the Barbican in London until 5 January 2025. Find out more about Leo Robinson, and Édouard Glissant's ideas of ‘trembling', at the London Mithraeum Bloomberg SPACE: instagram.com/p/DAtbDyUIHzl/?next=%2F&img_index=3 Hear Barbican curator Florence Ostende on Carrie Mae Weems' series, From Here I Saw What Happened and I Cried (1995–1996): pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da And curator Alice Wilke on Carrie Mae Weems' Africa Series (1993), at the Kunstmuseum Basel: pod.link/1533637675/episode/d63af25b239253878ec68180cd8e5880 For more from the Curve, hear Barbican curator Eleanor Nairne on Julianknxx's Chorus in Rememory of Flight (2023), on EMPIRE LINES: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7 And find out more about ancient Adinkra symbology and geometric structures in the episode about El Anatsui's Scottish Mission Book Depot Keta (2024) at Talbot Rice Gallery in Edinburgh: pod.link/1533637675/episode/2e464e75c847d9d19cfa4dc46ea33338 PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Carrie Mae Weems to amerykańska artystka, która 21 października jako pierwsza Afroamerykanka odebrała National Medal of Arts w dziedzinie sztuk wizualnych, najwyższe wyróżnienie państwowe w dziedzinie sztuki w Stanach Zjednoczonych, przyznawane przez prezydenta. Dekadę temu, również jako pierwsza czarna artystka, doczekała się solowej retrospektywy twórczości w muzeum Guggenheima w Nowym Jorku.

Dr. Sarah Elizabeth Lewis has one of the most illustrious resumés of all the guests on Pulling the Thread—and I think we're the same age. Lewis is the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University where she serves on the Standing Committee on American Studies and Standing Committee on Women, Gender, and Sexuality. It was at Harvard that Lewis pioneered the course Vision and Justice: The Art of Race and American Citizenship, which she continues to teach and is now part of the University's core curriculum—as it were, Lewis is the founder of Vision & Justice, which means that she is the organizer of the landmark Vision & Justice Convening, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Before joining the faculty at Harvard, she held curatorial positions at The Museum of Modern Art, New York and the Tate Modern, London. She also served as a Critic at Yale University School of Art. I'm not done—in fact, I could go on and on. She's the author of The Rise: Creativity, the Gift of Failure, and the Search for Mastery, a book on Carrie Mae Weems, and innumerable important academic papers. Today, we talk about The Rise and how it dovetails in interesting ways with her brand-new book, The Unseen Truth: When Race Changed Sight in America, which is about the insidious idea that white people are from the Caucasus, a.k.a. Caucasian—an idea that took root in the culture and helped determine the way we see race today.  MORE FROM SARAH ELIZABETH LEWIS, PhD: The Unseen Truth: When Race Changed Sight in America The Rise: Creativity, the Gift of Failure, and the Search for Mastery Carrie Mae Weems Sarah Lewis's Website Vision & Justice Follow Sarah on Instagram To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This time around we're diving into the Father's Day campaign from Bottega featuring A$AP Rocky and shot by Carrie Mae Weems, Rihanna named the face of J'adore Dior, the overuse of Lil' Wayne's ‘A Milli', Jordan's shot back at Adidas, Black Nepotism, and much more. Tap in via the link in our bio to subscribe on YouTube, or listen wherever you find podcasts!

Episode No. 654 features curator Karen Hellman and artist Myra Greene. With Carolyn Peter, Hellman is the curator of "Nineteenth-Century Photography Now" at the J. Paul Getty Museum, Los Angeles. The exhibition examines how many of the conventions and processes established in photography's early years remain of interest to artists working today. Historical artists within the exhibition include Anna Atkins, Gustave Le Gray, Nadar, Julia Margaret Cameron, Roger Fenton, and Carleton Watkins. The exhibition is on view through July 7. Claire L'Heureux and Antares Wells assisted the co-curators. Greene is among the 21 contemporary artists on view. Her work uses photography and textiles to explore representations of the body and race. Core to her practice is an understanding that color is materially and culturally dependent on context, and historically has been. She has had solo exhibitions at museums such as the Museum of Contemporary Art Georgia, Atlanta, the Kentucky Museum of Art and Craft, Louisville, and has been included in group exhibitions at the Spelman College Museum of Fine Art, Atlanta, the Block Museum of Art, Northwestern University, the Rose Art Museum, Brandeis University, the National Gallery of Art, Washington, and more. Ten artists in the exhibition previously have been guests on The Modern Art Notes Podcast: Andrea Chung; Liz Deschenes; Ken Gonzales-Day; An-My Lê; Lisa Oppenheim; Wendy Red Star; Mark Ruwedel; Paul Mpagi Sepuya (second visit); Stephanie Syjuco (second visit); and Carrie Mae Weems. Instagram: Myra Greene, Tyler Green.

Carrie Mae Weems is a multidisciplinary artist. Her body of work stretches over four decades and across many mediums, but with a singular focus—  depicting the reality of Black life.  Weems talks about her work, her role in public life, the intersecting crises in the world, and the power of convening people through art to confront big truths.On this season of DB|BD,  co-hosts Jessica Helfand and Ellen McGirt are observing equity by highlighting the “redesigners” — people who are addressing urgent problems by challenging big assumptions about how the world can and should work — and who it should work for. This season of DB|BD is powered by Deloitte. Visit our site for more on this episode and to view a transcript.To learn more about Carrie Mae Weems' work, visit her website.  A write up of Carrie's Cyclorama in the New York Times.Varying Shades of Brown was a project featuring major installations and programs by Carrie Mae Weems across Brown University.If you enjoyed this conversation with Carrie, check out Jessica and Ellen's conversation with Avery Willis Hoffman, the artistic director of the Brown Arts Institute.Follow The Design of Business | The Business of Design on Spotify, Apple Podcasts or your favorite podcast app. Episodes are produced by Design Observer's editorial team. The views and opinions expressed by podcast speakers and guests are solely their own and do not reflect the opinions of Deloitte or its personnel, nor does Deloitte advocate or endorse any individuals or entities featured on the episodes.

La vetrina come simbolo e archetipo del museo e dell'esposizione: è il punto di partenza della mostra Exposure in corso al Mudec di Milano che interroga il pubblico sulle diverse funzioni e tipologie della vetrina, dentro e fuori il museo. Elemento che comunica attraverso la sua trasparenza, la vetrina separa l'oggetto dal pubblico, protegge e isola i reperti e le opere d'arte. Nei musei etnografici in particolare le vetrine privano del loro contesto oggetti che provengono da contesti culturali diversi, rivestendoli di nuovi significati. Esporre significa quindi raccontare, proponendo una propria visione del sapere e della storia. Che cosa rappresenta la vetrina per una collezione di un museo delle culture? Che cos'era la vetrina prima del museo e che cosa rappresenta dentro e fuori gli spazi museali? A Voci dipinte ne parlano Sara Rizzo, conservatrice al Mudec di Milano, e l'architetto Guido Morpurgo. A proposito di nuovi racconti e nuove narrazioni andremo a Basilea a scoprire la mostra di Carrie Mae Weems, la prima artista afroamericana a cui è stata dedicata una retrospettiva al Guggenheim Museum di New York nel 2014.

Marc Mitchell holds a M.F.A from Boston University. His work has been included in exhibitions at the Schneider Museum of Art, Southern Oregon University; University of Wisconsin, Madison; University of Alabama, Tuscaloosa; Florida Atlantic University Galleries, Boca Raton; TOPS Gallery, Memphis, TN; GRIN Gallery, Providence, RI; Laconia Gallery, Boston, MA; and others. Mitchell has been featured in publications such as the Boston Globe, Burnaway, and Number Inc; and was selected for New American Paintings in 2014, 2017, 2018, and 2020. Mitchell has been an Artist-in-Residence at the Banff Center for Arts & Creativity, Ucross Foundation, Vermont Studio Center, Hambidge Center for the Arts, Jentel Foundation, and Tides Institute/StudioWorks. In 2021, Mitchell was a Fellow at The American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Tauba Auerbach (Diagonal Press), Mel Bochner, Matt Bollinger, Mark Bradford, Tara Donovan, Chie Fueki, Daniel Gordon, Sara Greenberger-Rafferty, Philip Guston, Josephine Halvorson, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Ellsworth Kelly, Arnold Kemp, Allan McCollum, Kay Rosen, Erin Shirreff, Lorna Simpson, Jered Sprecher, Jessica Stockholder, Jason Stopa, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others. "I am influenced by many things—1980's guitars, VHS tapes, World War I battleships, sunrise/sunset gradients, moiré patterns, and more. Over the past 3 years, ‘notions of cycle' have played an increased role in the development of my paintings; and I'm curious how the avant-garde succeeds and fails within popular culture. Currently, I'm interested in how the landscape has been depicted throughout American culture. Whether it's Thomas Cole and Albert Bierstadt of the Hudson River School, Georgia O'Keeffe's monumental work at the Art Institute of Chicago, or an Instagram post of a sunset—each conveys a romanticized view of our world. The most recent paintings are an amalgamation of experiences that I've had within the American landscape; with each painting flowing freely between representation and abstraction." LINKS:  www.mmitchellpainting.net   www.instagram.com/methan18     Artist Shout Out:    UARK Drawing --- https://www.uarkdrawing.com/ and @uarkdrawing UARK Painting --- https://www.uarkpainting.com/ and @uarkpaintning   I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE  to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency   Apply for Summer Open Call: Deadline May 15 Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

“Wright” with a “W, spider webs, sewing needles, Dune, grief, and Black and Blue. Join the friends as they visit Going Dark: The Contemporary Figure at the Edge of Visibility. Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.

We discuss the work of Carrie Mae Weems, the art of self portraiture, how her work relates to art history, why gear doesn't always matter, being the first black woman to win the Hasselblad Award, the role of art critics/ gatekeepers and more!

In honor of ICP's 50th anniversary year, a new exhibition presents works from the museum's deep holdings of photographs collected since 1974. Some of the artists featured in the show include Robert Capa, Francesco Scavullo, Nona Faustine, Deana Lawson, Mickalene Thomas and Carrie Mae Weems. Elisabeth Sherman, the senior curator and director of exhibitions and collections, and executive director David E. Little join us to discuss, ICP at 50: From the Collection, 1845–2019.This segment is guest-hosted by Tiffany Hanssen. 

The Portland Art Museum is highlighting Black Artists of Oregon collectively for the first time. The exhibition captures Black diasporic experiences in the Pacific Northwest, dating back from the 19th century to present day. That means stories full of love, joy, anger and darkness from almost 70 Black artists. The exhibition is up until March 31.  Featuring:  Intisar Abioto,  artist and curator of Black Artists of Oregon  Eric Slade, OPB Oregon Art Beat producer Jeremy Okai Davis,artist Carrie Mae Weems, artist Otis Kwame Kye Quaicoe, artist Mehran Heard aka Eatcho, artist  

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 Andrew Wilson, a multimedia artist and UC Berkley alumnus.About Artist Andrew Wilson:Wilson received his BFA from Ohio Wesleyan University in 2013 with a concentration in Jewelry/Metals and his MFA from the University of California, Berkeley in 2017. Wilson's work has been in many galleries and institutions including: The Berkeley Art Museum, Yerba Buena Center for the Arts, SOMArts, and the Museum of the African Diaspora. He has received such awards and honors as: the Jack K. and Gertrude Murphy Award, an Emergency Grant from the Foundation of Contemporary Arts, the Carr Center Independent ScholarsFellowship, the McColl Center and more.He has also worked with Carrie Mae Weems on The Spirit that Resides in Havana, Cuba alongside the Havana Biennial and The Future is Now Parade for the opening of The REACH in Washington D.C.His work has been collected by Michigan State University and the University of New Mexico.Visit Andrew's Website: AIWArt.comFollow Andrew on Instagram: @drewberzzzFor more on Andrew's exhibit, Torn Asunder at Jonathan Carver Moore, 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

How does the art world work?Chloë Sylvestre is a creative producer and project manager in the arts, focussed on public outreach and community engagement.She works with international institutions, artist studios, local communities and schools to create alternative, challenging and dynamic cultural projects for a globally diverse audience. "In the art world, in terms of archivists and curators and maybe studio assistants, there are a lot of women. And then in terms of Museum Directors or actual artists... it's certainly more male dominated."Chloë also advised Proteus Theatre on the roles of gallerists and curators in contemporary art for its stage production, Indestructible.In this revealing interview with show host Mary Swan, Chloë opens a window onto the demands of working with artists and institutions to make exhibitions a reality, and the cultural bias that sees women and other under-represented artists viewed as second-tier players in the art world.Timestamps1:27 Being the 'person who gets things done'3:22 Juggling strong personalities6:13 How networking and relationships drive art world success13:24 Gender, jobs and roles in the art world14:56 How women are 'othered' by art institutions18:16 Carrie Mae Weems - an important living artistCreditsThe podcast Indestructible is a Creative Kin production for Proteus Theatre Company.Executive Producer & Producer: Jason CaffreyMixing and Mastering: Adam DoubleProduction Music: DEX 1200Artwork: Y DesignsLinksIndestructible stage showMoca NorthProteus Theatre CompanyOmnibus Theatre ClaphamCreative KinIndestructible podcast mini-site at Creative KinCreative Kin client guest bookRemember to rate and review this show!

I Rekonstruktion - Psyket undersöker Odell psykvårdens etik och gråzoner. Möt henne i P1 Kultur. Vi berättar om böckerna som nominerats till Romanpriset och tar reda på hur Gérard Depardieu blev fransk inrikespolitik. Lyssna på alla avsnitt i Sveriges Radio Play. De fyra nominerade till Sveriges Radios romanpris 2024 är ”Spindelbjörken” av Pär Hansson, ”Systrarna” av Jonas Hassen Khemiri, ”Stacken” av Annika Norlin och ”Tomt bo” av Sofia Stenström. Litteraturredaktör Lina Kalmteg berättar mer om nomineringarna!ANNA ODELL VAR 21 ÅR NÄR HON BLEV GRAVID MED SIN VÅRDAREAnna Odell fick stora rubriker med konstverket ”Okänd kvinna” 2009–349701, där hon iscensatte en psykos på Liljeholmsbron i Stockholm för att visa hur bältesläggning och psykvård kan fungera. Det blev debatter och rättegång. I veckan är det vernissage för hennes nya videoverk ”Rekonstruktion - Psyket” på Cecilia Hillström Galleri i Stockholm, där hon återvänder till psykvården hon fick som ung. Anna Odell är gäst i dagens P1 Kultur.HUR BLEV GÉRARD DEPARDIEU FRANSK INRIKESPOLITIK?I december sa Frankrikes kulturminister Rima Abdul-Malak att skådespelaren Gérard Depardieu är en skam för landet. Hon ville dra tillbaka en hedersutmärkelse han fått. Därpå gick president Emanuel Macron ut och framhöll istället hur viktig Depardieu varit för Frankrike och hur mycket han älskade honom som skådespelare. Vad är det Depardieu anklagas för? Cecilia Blomberg sammanfattar stormen som blåser genom Frankrikes kulturliv just nu.CARRIE MAE WEEMS BERÄTTAR OM ”THE KITCHEN TABLE SERIES”2023 års Hasselbladpristagare fotografen Carrie Mae Weems ställs just nu ut i Göteborg. Där kan man till exempel se hennes mest kända och spännande verk ”The Kitchen Table Series” från 1990, en serie iscensatta och hyperrealistiska bilder kring ett köksbord. Hur jobbade Carrie Mae Weems med det ikoniska verket? Jenny Teleman intervjuar Carrie Mae Weems.ESSÄ: DAN JÖNSSON OM DEN DELADE FRAMTIDENÄr naturvetenskapens principer objektiva, eller födda ur ett kontrollbehov? Dan Jönsson reflekterar kring åtskillnaden av natur och samhälle i dagens essä från OBS.Programledare: Lisa BergströmProducent: Anna Tullberg

Photographer Armet Francis documents African diasporic cultures across ‘The Black Triangle', and captures the co-founding of the Association of Black Photographers in London, now Autograph ABP, 35 years ago. For over four decades, Jamaican-British photographer Armet Francis has taken portraits that celebrate the resilience and survival of African diasporic cultures. Having immigrated with his family as a young child in the 1950s, he was part of the post-Windrush generation, acutely aware of his ‘cultural displacement' and ‘political alienation' as the only Black child in his school in London Docklands. Drawing on the transatlantic slave trade route, between Africa, the Americas, and Europe, Armet developed the idea of ‘The Black Triangle' to guide his photographic practice from 1969, as a means to connect with the rich and diverse pan-African communities. Armet details his ‘social documentary' approach, his experiences as one of the first Black photographers to shoot fashion, and how he challenged exotic tropes in commercial, white photography and advertising. He shares images of Notting Hill Carnival, Brixton Market, and tributes to those who protested the injustice of the New Cross Fire in 1981. Armet retells the unlikely story of taking Angela Davis' photograph at the Keskidee Centre, his engagement with activists like Malcolm X and Stuart Hall, and how he had to ‘become Black' before he could becoming politically conscious and active in civil rights movements. Armet was also the first Black photographer to have a solo exhibition at The Photographers' Gallery in London when The Black Triangle series was exhibited there in 1983. Five years later, he co-founded the Association of Black Photographers, now Autograph ABP, where he has represented the series in 2023. To mark both anniversaries, he talks about what it was like founding the institution, working with the likes of David A Bailey, Mark Sealy, and Charlie Phillips, and his ongoing practice in the archives, keeping record of the important contributions - and canons - of British history. Armet Francis: Beyond The Black Triangle runs at Autograph ABP in London until 20 January 2024. Hear from many more artists and photographers who've worked with Autograph on EMPIRE LINES: Ingrid Pollard on Carbon Slowly Turning (2022) at Turner Contemporary in Margate: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 Curator Florence Ostende on Carrie Mae Weems' series, From Here I Saw What Happened and I Cried (1995–1996), at the Barbican in London: pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da And curator Alice Wilke on Carrie Mae Weems' Africa Series (1993), at the Kunstmuseum Basel: pod.link/1533637675/episode/d63af25b239253878ec68180cd8e5880 Johny Pitts on Home is Not a Place (2021-Now) at The Photographers' Gallery in London: pod.link/1533637675/episode/70fd7f9adfd2e5e30b91dc77ee811613 John Akomfrah on Arcadia (2023) at The Box in Plymouth: pod.link/1533637675/episode/31cdf80a5d524e4f369140ef3283a6cd For more from Autograph's contemporary programme, hear photographer Hélène Amouzou and curator Bindi Vora on Voyages (2023), on EMPIRE LINES: pod.link/1533637675/episode/a97c0ce53756ecaac99ffd0c24f8a870 WITH: Armet Francis, Jamaican-British photographer. He is a co-founder of the Association of Black Photographers in London, now Autograph ABP. ART: ‘The Black Triangle, Armet Francis (1969) (EMPIRE LINES x Autograph)'. PRODUCER: Jelena Sofronijevic. Editor: Nada Smiljanic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Erin Hoyt is the Director of Operations at Filter Photo, owns and operates a successful wedding photography studio, and is a cotemporary photography collector, and a photographer. Erin learned photography and business outside of academia through internships, work experience, and just being highly self-motivated. We talk about all of these things and about Erin settling in after her recent move to Atlanta.  https://www.filterphoto.org https://erinhoytphotography.com https://www.instagram.com/erinhoytphotography/ https://www.instagram.com/emariehoyt/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Erin Hoyt is the Director of Operations at Filter Photo, a non-profit photography gallery and festival based in Chicago. At Filter, Erin manages an ongoing series of artist lectures, professional development workshops, and portfolio reviews. Since joining the organization in 2010, she has overseen over 90 exhibitions and 13 annual festivals. In that time, she has worked with a range of artists including Carrie Mae Weems, Tarrah Krajnak, Zora J Murff, Todd Hido, Poulomi Basu, and Rodrigo Valenzuela. Erin splits her time between Atlanta and Chicago.    Links mentioned in this episode: https://www.mfaphotographyreviews.com https://www.chicoreview.com Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

This episode of Focal Point features two exhibiting artists from LOVE: Still Not the Lesser (on view August 17 - December 23, 2023) in conversation with Asha Iman Veal, MoCP Associate Curator. Jorian Charlton (b. 1989 Canada) is an artist who focuses on her generation of peers within the Caribbean diaspora—authoring their canon of Black Canadian representation. Yuge Zhou 周雨歌 (b. 1985 China) applies her perspective of a Chinese diaspora immigration experience for the video series Love Letters (summer) and Love Letters (winter) 2021. Together, they discuss their respective inspirations and artistic practices, as well as works by Carrie Mae Weems and Dylan Vitone in the MoCP collection.View Charlton's work – https://joriancharlton.com/and Zhou's work – https://yugezhou.com/.

Curator Alice Wilke transports from Switzerland to sub-Saharan cities in Africa, tracing Carnival traditions across continents, via Carrie Mae Weems' 20th century wallpapers, ceramic plates, and photographs. In 1993, the North American artist Carrie Mae Weems undertook a ‘pilgrimage' to West Africa to discover her heritage. With photographs of historic architectures, former slave sites, and colonies, she seeks to retell histories about the origins of civilisation - but ones which also highlight her position as a contemporary artist practicing from a diaspora. As The Evidence of Things Not Seen - the final stop on Weems' current ‘world tour' of exhibitions - opens in Switzerland, curator Alice Wilke talks about how the show has changed from between the Barbican, in London, and Basel. Starting with the Missing Link series (2003), we consider the particular history of Carnival in Basel, a time of social and political critique, and tradition with unexpected connections to the Caribbean. We see how Weems relocates celebrated - and celebrity - Black women like Mary J. Blige in her practice, composing photographs like Baroque paintings to play on conventions of Western/European art, and keep stories alive through their retelling. Moving through Weems' wider work, we consider the racism, internalised shadism, and hyper-visibility of Black people in society, and what European institutions haven't yet seen, in their under-representation of POC artists. Carrie Mae Weems. The Evidence of Things Not Seen runs at the Kunstmuseum Basel in Switzerland until 7 April 2024. For more, you can read my article. Part of JOURNEYS, a series of episodes leading to EMPIRE LINES 100. Return to Carrie Mae Weems: Reflections for Now at the Barbican in London, with curator Florence Ostende's EMPIRE LINES episode on From Here I Saw What Happened and I Cried (1995-1996): pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da For more about Weems' wallpapers, read about BLACK VENUS: Reclaiming Black Women in Visual Culture at Somerset House, in gowithYamo: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house For more about Dogon architecture in Africa, listen to Dr. Peter Clericuzio's episode on The Great Mosque(s) of Djenné, Mali, on EMPIRE LINES: pod.link/1533637675/episode/079e9ccf333c54e7116ce0f9a6e7a70c WITH: Alice Wilke, assistant curator at the Kunstmuseum Basel in Switzerland. She has worked as a research assistant at the city's HGK FHNW Art Institute, where she supervised the podcast series Promise No Promises!, the Kunsthalle Göppingen, and the Museum Tinguely. She is the assistant curator of The Evidence of Things Not Seen, with curator Maja Wismer. ART: ‘Africa Series, Carrie Mae Weems (1993)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Hon var en internationellt erkänd skulptör, hon var svart och hon var kvinna. Men länge tycktes hon utraderad ur historien. Anna Blennow pusslar ihop några bitar i Edmonia Lewis exceptionella liv. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången i oktober 2020.Utanför det som en gång var skulptören Antonio Canovas atelje finns Roms kanske märkligaste fontän. Över ett vattenfyllt kar i granit ligger en naken mansfigur utsträckt. Hans kropp är skulpterad i en vittrad, brungrå vulkanisk stenart, medan huvudet – en sorglöst flinande gubbe – är marmorvitt. Figuren föreställer den ständigt vinberusade halvguden Silenus. Hans mörka stenkropp – en återbrukad antik skulptur – skulle föra tankarna till den vilda och ociviliserade naturen.Kring år 1800 var Canova en av de främsta representanterna för nyklassicismens tolkning av antikens skulpturkonst, och han porträtterade samtidens kändisar alltifrån påven till Napoleon i bländvit marmor. Men vad man ännu inte visste var att antiken var allt annat än färglös. Grekiska och romerska skulpturer var ursprungligen bemålade i starka färger, men när de återfanns framgrävda ur marken från renässansen och framåt hade färgen flagnat, och eventuella rester tvättades bort. Antiken blev vit, och de bleka skulpturerna laddades med föreställningar om ett idealiserat förgånget.Under andra hälften av 1800-talet arbetade Roms stora koloni av konstnärer fortfarande i samma stil. Av dem var många amerikaner. Så många att amerikanska tidningar regelbundet rapporterade om deras verksamhet. I februari 1867 skriver The Evening Telegraphs utsände: ”I Canovas gamla studio fann jag miss Edmonia Lewis, som, förmodar jag, är den enda färgade skulptrisen i världen – en dam på kanske 23 år, med afrikanskt och indianskt blod i sina ådror. Hon kom till Rom för lite mer än ett år sedan som en främling okunnig i italienska. Men hon hade redan bestämt sig för vad hon skulle ägna sig åt…”Historien om Edmonia Lewis innehåller så många exceptionella detaljer att de spränger ramarna för vilken berättelse som helst. Ändå är stora delar av hennes liv fortfarande okända. Trots att Lewis levde i Rom i nästan trettio år tycks hon utraderad ur stadens minne, och trots att hon blev en av sin tids mest framgångsrika konstnärer var hon länge osynlig också i konsthistorien.Hon föddes i New York omkring år 1844, barn till en ursprungsamerikansk mor och en afrikanskättad far. Tidigt blev hon föräldralös och växte upp hos sin mors släkt i Ojibwe-stammen. Om den tiden skulle hon senare säga: ”Det finns ingenting så vackert som den vilda skogen. Att fånga en fisk, steka den över elden och äta den i det fria, är den största av alla njutningar. Jag skulle inte stå ut en vecka i stan, om det inte vore för att jag älskar konsten.”Men vägen från den fria skogen till den fria konsten var lång. Lewis halvbror, som hade tjänat lite pengar på att arbeta som barberare, bekostade hennes utbildning vid Oberlin College i Ohio, det första amerikanska lärosäte som välkomnade icke-vita. Ändå utsattes hon för rasistiska angrepp där, och efter att ha gått i lära hos en skulptör arbetade hon målmedvetet för att ge sig av utomlands. För det enda hon ville var att verka som konstnär utan att ständigt bli påmind om sin hudfärg, och det var inte möjligt i Amerika. Hon specialiserade sig på porträttbyster av kända slaverimotståndare, som sålde så bra att hon hade råd att resa till Europa, till Rom.Via kontakter etablerade sig Lewis snabbt i Roms konstnärsvärld, och följde självsäkert sin egen väg. Hon gjorde inte, som andra skulptörer, förlagor i lera för att sedan låta lokala stenhuggare arbeta fram dem i monumentalt format i marmor. Hela den tunga processen utförde hon själv. Hon brydde sig inte om att invänta beställningar på kostsamma större skulpturer, utan skapade de verk hon ville, och lyckades oftast hitta köpare till dem.Och i Rom förde hon en ständig frihetskamp i sin konst. ”Forever Free” visar ett afrikanamerikanskt par som lägger av slaveriets bojor. Skulpturgruppen ”Hiawathas bröllop” inspirerades av poeten Henry Wadsworth Longfellows dikt Hiawatha's Song, som byggde på ursprungsamerikanska myter. Lewis popularitet bara ökade, och hon reste ofta tillbaka till Amerika för att visa sina verk. Störst uppseende väckte en skulptur av Kleopatras självmord på världsutställningen i Philadelphia år 1876. Drottningens dödsögonblick framställdes av Lewis som en seger: Kleopatra kunde inte underkuvas av den romerska övermakten.Mot slutet av 1800-talet tappade nyklassicismen i popularitet, och konstens huvudstad flyttade från Rom till Paris. Lewis stjärnstatus dalade, och hon hamnade till slut i London, där hennes vidare öden är okända. Länge visste man inte ens var hon låg begravd, men för bara några år sedan lokaliserades hennes omärkta grav på en Londonkyrkogård. Där ligger nu en blank, svart sten med inskrift i guldbokstäver: ”Edmonia Lewis, skulptör”.Men under de senaste decennierna har man börjat rekonstruera Edmonia Lewis historia, som precis som många av hennes verk skingrats och gått förlorad under 1900-talet. Kleopatraskulpturen, som förblev osåld, hamnade till exempel som gravmonument över en kapplöpningshäst i en förort till Chicago, köptes senare av en lokal tandläkare, och förpassades sedan till ett förråd där en konsthistoriker fann den i slutet av 1980-talet. Idag finns den i Smithsonian American Art Museum.Få fotografier av Lewis är bevarade. Bara ett av dem kommer från hennes tid i Rom. Hon poserar klädd i en kritvit klänning med spetsar och volanger i lager på lager. Och historien om henne är ett lapptäcke av färg och vithet, historia och ideal, hud och kropp. Författaren Henry James raljerade över hur hennes hudfärg, som ”pittoreskt kontrasterade mot hennes material”, var den främsta orsaken till hennes berömmelse, svart mitt i den ”marmorvita flocken” av kvinnliga konstnärer i Rom. Men själv sade hon: ”Vissa berömmer mig för att jag är färgad, och den sortens beröm vill jag inte ha. Anmärk hellre på mina brister, för det kommer att lära mig något.”Lewis positionerade sig med självklarhet mitt i den västerländska, vita kulturhistoria vars centrum vid den tiden fortfarande var Rom. Hon signerade sina verk på latin: Edmonia Lewis fecit Roma. Hennes skulpturer av icke-vita individer avbildade i vit marmor tog plats i samtidskonsten utan den tidstypiska exotisering och sexualisering av det främmande som till exempel kom till uttryck i idén om den ädle vilden. Men varken Lewis eller hennes samtida visste att den värdighet som det marmorvita skulle låna sina bärare byggde på en felaktig premiss om den vita antiken.Och antikens skulptur var inte bara bemålad. Precis som i skulpturen av Silenus använde man färgad sten för att signalera det främmande hos såväl ociviliserade naturgudar som de avlägsna folkslag man införlivat i sitt rike. Också stensorterna kom från områden i romarrikets utkanter: grön marmor och röd porfyr från Egypten; rödspräcklig och svart marmor från Turkiet. Den färgade stenen blev både exotisk markör och maktdemonstration från väldet som sträckte sig över hela den kända världen. Kontrasten kunde inte vara större mot den frihet som genomsyrade Edmonia Lewis liv och verk.Anna Blennow, latinforskare och poetLitteraturEdmonia Lewis – internationally renowned sculptor, Charlotte Etinde-Crompton & Samuel Willard Crompton, 2020.The Lure of Italy. American Artists and the Italian Experience, 1760–1914, ed. Theodore Stebbins, Jr, Museum of Fine Arts, Boston, 1992.Barbro Santillo Frizell, ”Antikens marmorstatyer en vit lögn”, Svenska Dagbladet 2009-02-11Sarah E. Bond & Sean P. Burrus, ”Barbarians and Sculpture's Color Barrier in Ancient Rome”, Hyperallergic 2018-05-31Heidi Morse, ”Roman Studios. The Black Woman Artist in the Eternal City, from Edmonia Lewis to Carrie Mae Weems”, i Classicisms in the Black Atlantic, eds. Ian Moyer, Adam Lecznar & Heidi Morse, 2020.

Here at On Theme, the season to give thanks for Black stories is year-round, ya dig? As a small token of gratitude, Katie and Yves dedicate an episode to their appreciation for Carrie Mae Weems's “Kitchen Table Series” and Fannie Lou Hamer's 1964 speech at the Democratic National Convention. Check out Carrie Mae Weems's Kitchen Table Series Read “Carrie Mae Weems by Dawoud Bey” in Bomb Magazine Listen to Fannie Lou Hamer's full speech Follow us on Instagram @onthemeshow Email us at hello@ontheme.showSee omnystudio.com/listener for privacy information.

Right now, Montclair Art Museum has a huge show featuring some of the most well-known women in the artworld such as Barbara Kruger, Carrie Mae Weems, Alice Neel, Betty Parsons and Jaune Quick-to-See Smith. It's called Taking Space: Contemporary Women Artists and the Politics of Scale. Gail Stavitsky, the museum's chief curator, joins us to talk about the exhibition on display through Jan. 7.  

Contemporary artist Elsa James moves through the Museum of London Docklands' London, Sugar & Slavery gallery - and so, the missing histories of the 17th and 18th centuries - in her 2023 film, Living in the Wake of the Lust for Sugar. In 2023, the Museum of London Docklands invited artist and activist Elsa James to make a disruptive intervention in their London, Sugar & Slavery gallery. Finding the enslaved African voice missing - from both this particular space, and museums more widely - Elsa shot a seven-minute film in shades of black and red, embedding in the space her personal, contemporary experience from the British African-Caribbean diaspora, as connected with the long history of the transatlantic slave trade. With movement, dance, and audio, Elsa reimagines the gallery as the galley of slave ship. Talking about the toppling of statues from Edward Colston to Robert Milligan, she details who controls historical narratives and memory, and why we should reconsider the history of transatlantic slavery as the history of the seventeenth and eighteenth centuries. Elsa illuminates her neon ‘Ode to David Lammy MP' (2022), influences from Stuart Hall to Windrush thinkers, and the parallel othering of her home base, Essex, made apparent by her research into historical Black women like Princess Dinubolu, Hester Woodley, and Mary Prince. Drawing on her work with the International Slavery Museum, we discuss the importance of local and global collaborations in platforming a plurality of voices, problems with the commercial art market, plus her interdisciplinary practice, from neon signs to performance art. Living in the Wake of the Lust For Sugar is publicly available online, via the Museum of London Docklands website and social media. For more about Carrie Mae Weems, listen to Barbican curator Florence Ostende on From Here I Saw What Happened and I Cried (1995–1996), on EMPIRE LINES: https://pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da Part of EMPIRE LINES at 90, exploring the legacies of the transatlantic slave trade through contemporary art. WITH: Elsa James, British African-Caribbean conceptual artist and activist. Born in London, she has lived in Essex since 1999; working across media, much of her current practice considers what it means to be Black in Essex today. ART: ‘Living in the Wake of the Lust for Sugar, Elsa James (2023)'. SOUNDS: Elsa James. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Photographer Gregor Sailer exposes the neo-imperial scramble for resources in the Arctic Circle and the Polar Silk Road, with stills frozen in white cubes at the Natural History Museum in London. Climate change is melting ice across the Arctic Sea, opening a channel known as ‘The Polar Silk Road'- and for traders, access to a wealth of natural resources. The term was defined by contemporary China, a nod to the long history of the the Eurasian Silk Road, characterised by the exchange of tea, spices, and disease. But these stark monochrome settings are contemporary sites of geopolitical conflict over the ownership and exploitation of oil, gas, and borders, all subjects of a new Cold War; the damage endured by local Indigenous people, animals, and plants has global impacts. From isolated research centres to Icelandic geothermal power plants, Austrian photographer Gregor Sailer captures man-made architectures across the region, but always avoids photographing people themselves. He talks about documenting the ‘surreal', the sustainability of travel photography, and how taking one-shot analogue photographs makes him more present in his environments. The Polar Silk Road: Photographs by Gregor Sailer runs at the Jerwood Gallery at the Natural History Museum in London, part of the programme Our Broken Planet, throughout 2023. Part of EMPIRE LINES Photography Season, exposing different perspectives on the past. Listen to the other episodes on Carrie Mae Weems, Contemporary African Photography at Tate Modern, and Nil Yalter's Exile is a Hard Job. WITH: Gregor Sailer, artist and photographer. ART: ‘Photographs of the Polar Silk Road, Gregor Sailer (2017-2021)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Artist Nil Yalter, a pioneer in 20th century video and multimedia installations, explores the often challenging experience of being an immigrant in a foreign country, through her transnational wallpapers, posters, and photographs of Turkish workers, in Exile is a Hard Job. Born in Egypt in 1938, Nil Yalter moved from Istanbul to Paris in 1965. Since the 1970s, she has pioneered the practice of socially-engaged video art; working at the intersections of feminist, anti-racism, and labour movements, her media is always decided by the political issue at hand. But her contemporary practice has always been historically-informed, drawing on literatures and languages from the Ottoman Empire. Pasted up in global cities from Valencia to Mumbai, ‘Exile Is a Hard Job' includes defaced photographs exposing the living conditions of illiterate ‘guest workers'. Navigating between private, intimate spaces, and public displays, the artist also considers the ethics of photography, using her practice to reflect the loss of identity felt in these communities. She talks about its latest installation at Ab-Anbar Gallery in London, the parallels between her ‘illegal' practices and subjects, and why women are often ‘doubly punished'. Plus, Yalter describes her motivations for migration from Turkey to France - ‘to learn' - why MENA artists produce the most exciting work today, and how she feels about her status as the ‘grandmother' of viral, video art. Nil Yalter: Exile is a Hard Job ran at the Ab-Anbar Gallery in London throughout June 2023. The artist will return for the gallery's full reopening in the autumn. This episode was recorded at London Gallery Weekend 2023. Part of EMPIRE LINES Photography Season, exposing different perspectives on the past. Listen to the other episodes on Carrie Mae Weems, Contemporary African Photography at Tate Modern, plus Gregor Sailor's series, The Polar Silk Road. WITH: Nil Yalter, Turkish-French contemporary artist who currently lives and works in Paris. Her works feature in many notable public collections including the Tate Modern, London; the Centre Georges Pompidou, Paris; and Museum Ludwig, Cologne. ART: ‘Exile is a Hard Job, Nil Yalter (1974-Now)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Danielle heads to Somerset House in London to speak with Aindrea Emelife, the Nigerian-British curator and art historian. Specialising in modern and contemporary art, with a focus on questions around colonial and decolonial histories in Africa, transnationalism and the politics of representation, her writing includes the book A Brief History of Protest Art, and in 2021, she was appointed to the Mayor of London's Commission for Diversity in the Public Realm. She is currently Curator of Modern and Contemporary at the Museum of West African Art (MOWAA), in Edo State, Nigeria. This summer she has curated an exhibition at Somerset House in London called Black Venus, which brings together the work of 18 Black women and non-binary artists to explore the othering, fetishisation and reclamation of narratives around Black femininity. The exhibition examines the complex narratives of Black womanhood through the influences of three perceived archetypes: the Hottentot Venus, the Sable Venus, and the Jezebel, and reframes stereotypical notions of black womanhood through the work of contemporary artists including Sonia Boyce, Carrie Mae Weems, Amber Pinkerton and Lorna Simpson. Aindrea talks about how she became interested in the history of art, and why she felt this was an important theme to address.  

Curators Osei Bonsu, Jess Baxter, and Genevieve Barton cross the diverse landscapes, borders, and generations of contemporary African photography, exposing how the past, present, and future can co-exist on camera. Plus, contemporary artist Ndidi Dike revisits the ‘living archive' of colonialism in Nigeria, from Independence House in Lagos, to London. Since the invention of photography in the 19th century, Africa's cultures and traditions have often been seen through Western lenses. By 1914, European powers had colonised 90% of the African continent, often using the media to construct Africa and Black diasporas, in opposition to whiteness. But photography - and photographic traditions of preservation - has long been used by artists on the continent, whether in the pioneering work of studio photographers like James Barnor in pre-independence Ghana, as a means of anti-colonial resistance and political protest in the 1950s, or powerful shots of modern Nigerian Monarchs. Tate Modern's A World in Common platforms how artists are reclaim Africa's histories and reimagining its contemporary place in the world. Curator Osei Bonsu connects show how masks, removed from their ritual context for display in European museums, can also address contemporary questions of restitution, highlighting Edson Chagas' passport-style photographs connecting Portugal and Angola. Jess Baxter and Genevieve Barton look at how globalisation, inequality, migration, and urbanisation, are differently experienced across the continent, and how their ‘hopeful' exhibition focusses as much on climate activism as climate change. Moving beyond Afrofuturism and pan-Africanism towards ideas around ecology and global solidarity, we see how artists exercise agency in ever changing cities, and through boundary-pushing practices of ‘expanded photography'. Plus, moving from the diaspora London to practice in Lagos, multimedia artist Ndidi Dike explains what discarded files and archive documents from Nigeria can reveal about the post-colonial government. A World in Common: Contemporary African Photography runs at Tate Modern in London until 14 January 2024. For more, you can read my article. Part of EMPIRE LINES Photography Season, exposing different perspectives on the past. Listen to the other episodes on Carrie Mae Weems, Nil Yalter's Exile is a Hard Job, plus Gregor Sailor's series, The Polar Silk Road. WITH: Osei Bonsu, British-Ghanaian curator and writer, and a curator of International Art at Tate Modern. He is the curator of A World in Common, with co-curators Jess Baxter and Genevieve Barton. Ndidi Dike, Nigeria-based visual artist working in sculpture and mixed-media painting. ART: ‘A History of a City In a Box, Ndidi Dike (2019) (EMPIRE LINES x Tate Modern)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Curator Florence Ostende visualises how violence against African Americans has been perpetuated throughout history, and challenged with contemporary art, by developing Carrie Mae Weems' radical photographic practice from the 1980s to now, and how she reframes whiteness, and ‘Anglo-America', in relation to Black subjects. Carrie Mae Weems is one of the most influential contemporary US artists, and interest in her films, installations, and performance artworks is rising in Europe too. From her first UK exhibition with Autograph, founded in Brixton to support Black photographers, Weems returns to London with her largest UK exhibition to date, spanning three decades of her multidisciplinary practice, and over 300 years of American history. Curator Florence Ostende talks about how her ‘direct intervention' in daguerreotypes taken from the Harvard Museum archives - with colour, tints, and text - challenges their use in perpetuating systemic racism, inequality, and violence, whilst blurring the boundaries between past and present to reveal how colonial stereotypes still linger today. Alongside these ‘appropriated photographs', she details the artist as art historian - and her bid to expose the Black Abstract Expressionist painters hidden in plain sight. Beyond her iconic Kitchen Table (1990) series, we see Weems' political activism, with works addressing women's position in domestic spaces and Marxism, the assassination of Martin Luther King Jr., and the murder of George Floyd. Ostende reveals why Weems literally puts the muse in Museums, the complex relationship between artist and institution, and what it was like to work with the artist - and ‘win over' the Barbican's brutalist architecture. Carrie Mae Weems: Reflections for Now runs at the Barbican in London until 3 September 2023. For more, you can read my article. Part of EMPIRE LINES Photography Season, exposing different perspectives on the past. Listen to the other episodes on Contemporary African Photography at Tate Modern, Nil Yalter's Exile is a Hard Job, plus Gregor Sailor's series, The Polar Silk Road. For more about Autograph, hear artist Ingrid Pollard's EMPIRE LINES on Carbon Slowly Turning (2022): https://pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 WITH: Florence Ostende, Curator at the Barbican Art Gallery, London. She is the co-curator of Carrie Mae Weems: Reflections for Now. ART: ‘From Here I Saw What Happened and I Cried, Carrie Mae Weems (1995–1996)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

In the Kitchen (washing machine) 1977 is an art work by Helen Chadwick being displayed at the Hepworth Wakefield, whilst Carrie Mae Weems' images called Kitchen Table Series 1990 are coming to a Barbican show. Art critic Sarah Kent joins New Generation Thinker and archaeologist Marianne Hem Eriksen, film scholar Melanie Williams, whose latest book looks at Shelagh Delaney's A Taste of Honey, and journalist and writer Angela Hui, whose memoir is called Takeaway: Stories from a childhood behind the counter, for a conversation about kitchens from the ancient hearth to kitchen sink realism. Matthew Sweet is the chef in charge. Producer: Julian Siddle You might also be interested in a discussion about mid century modern and kitchen appliances https://www.bbc.co.uk/programmes/m000x709 Housework https://www.bbc.co.uk/programmes/m001629r Bedrooms https://www.bbc.co.uk/programmes/m000pmsl

THIS WEEK on the GWA Podcast, I interview one of the most renowned artists working in the world right now, Mickalene Thomas. Working across painting, photography, installation, film, collage and more, Thomas, for the past two decades has been instrumental in forging an identity for figuration in the 21st century. Positioning her subjects – bold, beautiful women – in often large-scale work that commands the same power as that of Old Master Painting, Thomas lionises her subjects, whether they be friends, family members or lovers, by imbuing them with glittering rhinestone crystals and rich, colourful patterning, in atmospheres that are full of freedom, full of liberation. Drawing from pop culture and history – think Grace Jones to the 19th century French painters – and striving to encapsulate the beauty and glamour she witnessed in Jet magazine when growing up, Thomas also re-stages, reclaims, art-historical compositions by reworking paintings from the lens of a Black queer woman. In 2013, she said: ‘Portraits are very powerful. They have a great representation and dominance in the world... of trying to capture the essence of someone' and just to prove how powerful this was on her own career, it was after seeing legendary photographer Carrie Mae Weems's Kitchen Table Series, 1990 that Thomas was inspired to pursue art. Switching from law and enrolling in art school at the Pratt Institute, Thomas then went on to earn her MFA from Yale, and has since worked indefatigably to elevate the presence of Black women in art. Thomas has exhibited at the world's most prestigious institutions, from the Brooklyn Museum to MOCA Los Angeles, Spellman College to the ICA in Boston, but she has also been a force at uplifting the careers of others – such as, in recent shows, curating exhibitions alongside her own featuring younger names, making for a more exciting and inclusive art history, that others have followed her in doing. Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

It's back to the coalface for Episode № 51 of I Dream of Cameras, featuring notable cameras of 1973 (uh, the early '70s), amnesty for the prodigious mailbag, a recap of Gabe's recent portrait shoot and a photowalk at the Getty Center, and the strange and terrible saga of Jeff's XPan. Topics discussed include:A recap of our banner 50th episode and the chaotic events of past three monthsGabe presents… the cameras of 1972, which bear a striking resemblance to the cameras of 1973: the Olympus OM-1, the Polaroid SX-70, the Nikon F2 and the Rollei A26Despite the rapturous response to the 50th — all credit to Chris Chu — a lot was left on the cutting-room floor, including the prodigious mailbag, so… amnesty!Gabe did a portrait shoot at iHeartRadio for a couple of friends — how do you learn about lighting setups?Do you guys apply firmware updates to your digital cameras?Gabe loves his Canon EOS 3 and Hasselblad 501cm; Jeff's EOS 5 experience soured him on autofocus cameras forever (and maybe Canon, too)Victoria of Tiny Camera Store fame turned Gabe on to the Chinon Auto 3001 Multifocus and the Voigtländer Bessa II with the Heliar lensThe new Los Angeles Photography Club had a photo walk at the Getty Center — what makes a good photo walk? would you prefer a “photo sit”? — also, Jeff loathes both the Getty's architecture and its architectHowever, we saw a great photography exhibit by Carrie Mae Weems and Dawoud BeyAnd now… a SAGA! Jeff's beloved Hasselblad XPan froze up mere days before a trip to Paris, and even though it unfroze, his confidence is shattered. His deranged solution? Order the incrementally improved XPan II as a backup!A rundown of the differences between the XPan and XPan II (pro tip: they didn't fix the bad paint)A discussion of the concept of the “backup camera”Other panoramic cameras are nice, but don't kid yourselves, the XPan reigns supreme. Fight me on this!Any photographic advice for a first-time visitor to Paris? Email us, you know where!Gabe has begun processing his own film, and can't load the reels in the changing bags without closing his eyes to make it “extra dark”The eBay “startTime” hack doesn't work anymore, so what to do? Sort by Time: newly listed, and it'll show the date the auction was postedGabe vows to shoot with the Graflex Super D — send him your tips!

Carrie Mae Weems är den första afroamerikanska kvinnan som tilldelas Hasselbladspriset. I en intervju med P1 Kulturs Jenny Teleman konstaterar Weems att hon ofta varit först... Ett av hennes mest kända banbrytande verk är The kitchen table Series från 1990 som visades för några år sedan i Stockholms tunnelbana. Hasselbladstiftelsens motivering till valet av Carrie Mae Weems som 2023 års Hasselbladpristagare lyder:Carrie Mae Weems arbeten har i årtionden förutspått några av vår tids mest angelägna frågor – kampen för jämlikhet och mänskliga rättigheter – med orubblig visuell och etisk kraft. Hennes konstnärskap är till sin natur aktivistiskt, gripande och lyriskt. Hon skapar suggestiva, starka tablåer och konfronterar smärtsam historia, institutionell makt och social diskriminering. Kärnan i Carrie Mae Weems omfattande konstnärskap är fotografi, men hon arbetar också med video, text, multimediala installationer och performance. Hon medverkar ofta själv i sina arbeten och förkroppsligar och hyllar på så sätt det svarta kvinnliga subjektet.Reporter: Jenny Teleman

Fördubbling av fängslade kvinnliga journalister på fem år och recension av Miriam Toews senaste bok "Ensamma strider" som nu kommit på svenska. Producent: Måns HirschfeldtProgramledare: Maria Askerfjord Sundeby

This week Angel and Zoha bring in Women's History Month with an informative discussion about Black Women in Arts. The subjects of this show are Carrie Mae Weems, Annie Lee, Nellie Mae Row and Kara Walker.Join us on Instagram, Tiktok and Facebook for more. Also send your questions, topic suggestions and requests to be on the show to saltpepperketchuppodcast@gmail,comSupport the show

This episode is also available as a blog post: https://thecitylife.org/2023/03/01/brooklyn-museum-to-honor-carrie-mae-weems-at-2023-brooklyn-artists-ball-made-possible-by-dior/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Director Ruben Östlund discusses his latest Palme d'Or-winning film, Triangle of Sadness, and why he wanted to look at "beauty as a currency." Playwright Chloé Hung discusses her new dark comedic play, Three Women of Swatow, about three generations of Chinese women who discover they are bound by more than blood. Photographer Carrie Mae Weems discusses art, class and culture — and how she feels about being called an artist ahead of her time.

Within seriousness, there's little room for play, but within play there's tremendous room for seriousness. It's through the act of serious play that wonderful ideas are born.  Carrie Mae Weems is one of today's most influential and generous contemporary American artists, as devoted to her own craft as she is to introducing other artists into the world. Her photography and diverse visual media has won her numerous awards including the Rome Prize, a MacArthur genius grant, and four honorary doctorates, and she was even named one of the 100 most influential women of all time by Ebony magazine.    In this episode, Weems explores the struggles artists must maintain to find balance and reach an audience, how the field cannot advance without the deep and profound inclusion of Black artists, and what the concept of “grace” means to her and her mother.   References: Dawoud Bey The Black Photographers Annual Joe Crawford Roy DeCarava Anthony Barboza Ming Smith Langston Hughes's ‘Black Nativity' Cassandra Myth

Jessica Bell Brown is the Curator and Department Head for Contemporary Art at the Baltimore Museum of Art. Her recent exhibition projects include How Do We Know The World?, Thaddeus Mosley: Forest, Stephanie Syjuco: Vanishing Point (Overlay), and A Movement In Every Direction: Legacies of the Great Migration co-organized with the Mississippi Museum of Art. Prior to the BMA she was the Consulting Curator at Gracie Mansion Conservancy in New York, where she curated She Persists: A Century of Women Artists in New York, 1919-2019 with First Lady Chirlane McCray. Previously, she held roles at the Museum of Modern Art, New York, the Brooklyn Academy of Music, and Creative Time. Her writing has been featured in several artist monographs and catalogues, including Janiva Ellis, Thaddeus Mosley, Baldwin Lee, Lubaina Himid, Matthew Angelo Harrison, as well as Flash Art, Artforum, Art Papers, Hyperallergic, and The Brooklyn Rail.Photo by Christopher MyersAbout A Movement in Every Direction: Legacies of the Great MigrationThe Great Migration (1915–1970) saw more than six million African Americans leave the South for destinations across the United States. This incredible dispersal of people across the country transformed nearly every aspect of Black life and culture. A Movement in Every Direction: Legacies of the Great Migration explores the ways in which its impact reverberates today through newly commissioned works across media by 12 acclaimed Black artists, including Akea Brionne, Mark Bradford,  Zoë Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems.The exhibition is co-curated by Jessica Bell Brown, Curator and Department Head of Contemporary Art at the BMA and Ryan N. Dennis, Chief Curator and Artistic Director of the Center for Art & Public Exchange (CAPE) at the Mississippi Museum of Art.The exhibition is co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art.This exhibition is supported by a grant from the Ford Foundation.Mentioned in this episode:A Movement in Every Direction: Legacies of the Great MigrationTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

En Barcelona ha abierto la exposición 'Un gran giro de lo posible'. Una gran retrospectiva de la artista Carrie Mae Weems, pionera en la lucha por los derechos de los negros. Escuchar audio

Nos acompaña uno de los grandes pensadores españoles, Ramón Andrés, desde su ciudad natal, Pamplona. Allí comienzan este jueves los Encuentros Culturales que acaba de recuperar y que recuerdan a los originales de los años 70. Íñigo Picabea ha conversado con la escritora iraní Parinoush Saniee, que ha publicado 'Los que se van y los que se quedan', un retrato del exilio de su país. En Barcelona ha abierto la exposición 'Un gran giro de lo posible'. Una gran retrospectiva de la artista Carrie Mae Weems, pionera en la lucha por los derechos de los negros. Con Gerardo Vilches nos adentramos en el universo de Calvin y Hobbes. Su obra, completa y reunida, se publicará pronto en España con Astiberri. Terminamos, con Sonia Castelani y a raíz de los conciertos de Backstreet Boys en España, repasando el fenómeno de las boy band.   Escuchar audio

Songwriter, actor, director and producer Lin-Manuel Miranda and the filmmaker Agustina San Martín talk about their mentor/mentee relationship, the art, music and films they are working on and more. EVENT: Panel discussion at BAM with Lin-Manuel Miranda, Spike Lee, Carrie Mae Weems and others - Saturday, Sept. 10 at 11am

Shawnya Harris, in-house curator for the Georgia Museum of Art, shares details on their new exhibition, “Carrie Mae Weems: The Usual Suspects.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How do we look at, and respond to, work by Black contemporary artists? In this episode, we sat down with Tina Campt, Visiting Professor in Art & Archaeology and the Lewis Center for the Arts at Princeton. We trace the arc of Prof. Campt's career, from her earlier research on family photography in the African diaspora and how one can “listen to images,” all the way to her current writing and recent trip to this year's Venice Biennale. Along the way, we discuss concepts that elucidate the aesthetic, political, and experiential dynamics of work by artists like Jennifer Packer, Cameron Rowland, Stan Douglas, and Simone Leigh. Deep Dive: How to “listen” to a photograph Tina M. Campt, Listening to Images (Duke University Press, 2017). Tina M. Campt, A Black Gaze: Artists Changing How We See (MIT Press, 2021). The Breakdown - Guest Info (Photo credit: barnard.edu) Tina M. Campt (https://artandarchaeology.princeton.edu/people/tina-m-campt)  Professor Campt taught a multidisciplinary seminar called “Radical Composition” as a Visiting Professor at Princeton for the Spring 2022 semester. She is the Owen F. Walker Professor of Humanities and Modern Culture and Media at Brown University, and heads the Black Visualities Initiative at Brown's Cogut Institute for Humanities. In addition to the five books she has authored and edited, such as Listening to Images and A Black Gaze, Professor Campt is the lead convener of the Practicing Refusal Collective and the Sojourner Project.  See, Hear, Do “Radical Composition” course materials: Saidiya Hartman, "Venus in Two Acts." Small Axe 12, no. 2 (2008): 1-14.  Flying Lotus, “Until the Quiet Comes,” dir. Kahlil Joseph (2012).  Carrie Mae Weems, “People of a Darker Hue” (2016). Jay-Z, “4:44,” dir.  Arthur Jafa (2017).  Roy DeCarava and Langston Hughes, The Sweet Flypaper of Life (First Print Press, 2018). Practicing Refusal Collective, The Sojourner Project (ongoing). Whitney Museum of American Art, “Ask a Curator: Jennifer Packer: The Eye Is Not Satisfied With Seeing” (2022). Taylor DaFoe, “How Curators David Breslin and Adrienne Edwards Tackled the 2022 Whitney Biennial to Show ‘What America Really Looks Like',” artnet news (March 29, 2022). Simone Leigh, Sovereignty, Official U.S. Presentation, 59th International Art Exhibition, La Biennale di Venezia, April 23–November 27, 2022. National Gallery of Art, Afro-Atlantic Histories, April 10–July 17, 2022. Tina M. Campt, fourth lecture in the series Image Complex: Art, Visuality & Power, University of Sydney (online lecture, October 19th, 2022, register here).

Art and fashion are being redefined by new, creative voices who transcend the old high and low art boundaries. “Visual artists were thought to be less serious if they collaborated with fashion brands or if they appeared in fashion magazines, and now you have folks operating in a real post-medium condition,” says the writer, editor and curator Antwaun Sargent, on Episode 5 of Rodeo Drive – The Podcast. “It's really encouraging to see Carrie Mae Weems, for example, just shoot the latest Prada campaign.”Sargent is the author and curator of The New Black Vanguard: Photography Between Art and Fashion, the acclaimed publication and touring exhibition that is on view at Cleveland Museum of Art through mid-September 2022. He is also a director at Gagosian, a global network of art galleries, and he is currently working on an exhibition developed with the late Virgil Abloh, former artistic director of Louis Vuitton's menswear collection. Abloh's fluidity was influential on the boundaryless creativity today, says Sargent. “One day, one hour, he's designing a dress, the next hour he's designing a sculpture, the next he's making music.”Sargent talks with host Pari Ehsan about the Abloh show, about the dissolving of boundaries between art and fashion today, and about diversity and inclusion and how to do it authentically. “It's less for me about some stale notion of inclusivity or diversity, and more about allowing folks to fully express themselves in this space that they should have always had a claim to,” he says.This fluidity between disciplines – art, fashion, food, publishing – is also visible on Rodeo Drive, where luxury brands and fashion houses that once mainly sold clothing now offer curated exhibition and retail spaces and even restaurants. Field Correspondent Jason E.C. Wright checks out stores including Saint Laurent and its current Rive Droite installation conceived by the house's Creative Director Anthony Vaccarello and exclusive to its Paris and Rodeo Drive boutiques.Rive Droite features surfboards and furniture made in collaboration with Hervet Manufacturier, along with lighters and playing cards, branded headphones, footwear and bags, vinyl, art and design magazines and books. This really expands on how “the art collector is intersecting in the fashion world and those from the fashion side are collecting objects,” says Wright, adding, “it's a beautiful way of seeing this evolution of the stores being more than just a retail space and a point of experience for the world.”Season Three of Rodeo Drive – The Podcast is presented by the Rodeo Drive Committee with the support of the City of Beverly Hills, The Hayman Family, Two Rodeo Drive, Beverly Wilshire, A Four Seasons Hotel, the Beverly Hills Conference & Visitors Bureau, and MCM.Listen to Rodeo Drive – The Podcast and subscribe, rate and review wherever you get your podcasts.Watch moments from the series here and on YouTube.Check back in regularly for what's next in the series.Season Three Credits:Executive Producer: Lyn WinterHost: Pari EhsanField Correspondent: Jason E.C. WrightScriptwriter and Editorial Advisor: Frances AndertonEditor and Videographer: Hans FjellestadTheme music by Brian BanksProduction Assistant: Grace Fuh See acast.com/privacy for privacy and opt-out information.

 Carl Hancock Rux's work crosses the disciplines of poetry, theater, music, and literary fiction in order to achieve what one critic describes as a "dizzying oral artistry...unleashing a torrent of paper bag poetry and post modern Hip-Bop music; the ritualistic blues of self awakening."Carl Hancock Rux is an American poet, playwright, novelist, essayist, recording artist, actor, theater director, radio journalist, as well as a frequent collaborator in the fields of film, modern dance, and contemporary art. He is the author of several books including the Village Voice Literary Prize-winning collection of poetry, Pagan Operetta, the novel, Asphalt, and the Obie Award-winning play, Talk. WRITER/POETWorking as a Social Work Trainer while moonlighting as a freelance art and music critic, Rux became a founding member of Hezekiah Walker's Love Fellowship gospel choir and later found himself influenced by the Lower East Side poetry and experimental theater scene, collaborating with poets Miguel Algarin, Bob Holman, Jayne Cortez, Sekou Sundiata, Ntozake Shange; experimental musicians David Murray, Mal Waldron, Butch Morris, Craig Harris, Jeanne Lee, Leroy Jenkins, Odetta, Steve Earle, Jim Carroll as well as experimental theater artists Laurie Carlos, Robbie McCauley, Ruth Maleczech, Lee Breuer, Reza Abdoh and others.RECORDING ARTIST/PERFORMING ARTISTHis CD Rux Revue was recorded and produced in Los Angeles by the Dust Brothers, Tom Rothrock, and Rob Schnapf and voted one of the top ten alternative music CDs of 1998 (New York Times). Rux recorded a follow up album, Apothecary Rx, (selected by French writer Phillippe Robert for his 2008 publication "Great Black Music": an exhaustive tribute of 110 albums including 1954's "Lady Sings The Blues" by Billie Holiday, the work of Jazz artists Oliver Nelson, Max Roach, John Coltrane, rhythm and blues artists Otis Redding, Ike & Tina Turner, Curtis Mayfield, George Clinton; as well as individual impressions of Fela Kuti, Jimi Hendrix, and Mos Def.) His fourth studio CD, Good Bread Alley, was released by Thirsty Ear Records, and his fifth Homeostasis (CD Baby) was released in May 2013. Rux has written and performed (or contributed music) to a proportionate number of dance companies including the Alvin Ailey American Dance Theater; Bill T. Jones/Arnie Zane Dance Company; Jane Comfort & Co. and Ronald K. Brown's "Evidence" among others.THE BAPTISMThe recently Lincoln Center commissioned poemWritten and Performed by Carl Hancock RuxDirected by Carrie Mae WeemsAboutBaptism (of The Sharecropper's Son & The Boy From Boonville) by award-winning poet and artist Carl Hancock Rux is a three-part poem and the artist's tribute to the legacies of civil rights leaders John Lewis and C.T. Vivian. Written and performed by Rux, the Lincoln Center commission is also an 11-minute short abstract film in two iterations—The Baptism and The Baptism (rhetoric)—directed by artist Carrie Mae Weems.http://thebaptismpoem.org

Hey Yall! It's time to hit your mark and go Off Book. This week we dive into A LOT! Our weeks and the shows we've seen are sorts of large in number *cough* Drew! *cough, cough*. Hot topics include James Earl Jones getting a theatre renamed in his honor, Black Theatre Night of Confederates at Signature Theatre, Emmett Till opera, the new Blair Underwood produced musical, + more! In addition, Drew takes back what he said about Moulin Rouge, Ngozi wants to take voice lessons, and Kim is half reading and half paying attention. This episode featured the full interview with Tony Award-winning Broadway costume designer & Academy Award nominee Paul Tazewell (West Side Story, Caroline, or Change, Hamilton). Pulled from Broadway Black's new video series Black & Blue, filmed at the Civilian Hotel, you can watch the filmed cut on Youtube. BONUS: Drew got a chance to interview Carrie Mae Weems, who helped develop the show "Arden, But Not Without You' at The Flea Theater. He felt so moved he wanted you to hear her words coming from her. There is just something about her voice. You can also read the interview on BroadwayBlack.com. (Also, you might wish that Drew could have gone off-mic this week. Unfortunately, it seems he may be trapped in a tunnel. Sometimes sh*t happens.) Go into the world of black theatre artists on this weekly podcast with a playwright, an actress, & a journalist as they explore and process life in NYC while pursuing their theatre dreams. Email: OffBook@BroadwayBlack.com Twitter: @OffBookPodcast | @BroadwayBlack IG: @BroadwayBlack | @OffBookPodcast Facebook: www.facebook.com/broadwayblack2.0 www.BroadwayBlack.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Composer Nathalie Joachim sees her childhood memories in May Flowers. The photograph also evokes the uniquely spiritual experience of recording a church choir in her family's Haitian village. Joachim has lovingly woven their song into her composition. Find full transcripts and more information about this episode at www.nga.gov/music-programs/podc…ms-may-flowers.html Subscribe directly to Sound Thoughts on Art from the National Gallery of Art on Apple Podcasts, Google Podcasts, Spotify, Stitcher, or your favorite podcast app https://feeds.megaphone.fm/NGAT6207729686.  Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks ABOUT THE NATIONAL GALLERY OF ART The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. More National Gallery of Art Content: Facebook: https://www.facebook.com/nationalgalleryofart Twitter: https://twitter.com/ngadc Instagram: https://www.instagram.com/ngadc/ Pinterest: https://www.pinterest.com/ngadc/_created/ E-News: https://nga.us4.list-manage.com/subscribe/post?u=e894a1837aca4526f7e8a11b3&id=2085ff9475

Composer Nathalie Joachim sees her childhood memories in May Flowers. The photograph also evokes the uniquely spiritual experience of recording a church choir in her family's Haitian village. Joachim has lovingly woven their song into her composition. Find full transcripts and more information about this episode at https://www.nga.gov/music-programs/podcasts/nathalie-joachim-carrie-mae-weems-may-flowers.html.