Podcast appearances and mentions of Chris Ofili

This week, the girlies tackle rage bait: the content that's engineered to make you mad and keep you scrolling. From gutting historic homes to incendiary Republican rhetoric, they explore how anger became a content strategy and why we keep falling for it. They trace the long history of provocation, once a way to challenge power and now just another feature of your FYP, breaking down how rage bait works, who benefits from it, and why nothing feels shocking anymore. Digressions include the beauty of riding a train, knowing conservative content creators in real life, and the age-old question: does being a woman count as rage bait? We're going on tour!!!! Find tickets at https://linktr.ee/binchtopia This episode was produced by Julia Hava and Eliza McLamb and edited by Allison Hagan. Research assistance from Kylie Finnigan. To support the podcast on Patreon and access 50+ bonus episodes, mediasodes, zoom hangouts and more, visit patreon.com/binchtopia and become a patron today. SOURCES $5.2m for a duct-taped banana: has the buyer of Maurizio Cattelan's artwork slipped up? 10 Works of Art That Made People Really Mad  100 years later Duchamp's ‘Fountain' still influential Against Empathy by Paul Bloom Anger is an approach-related affect: Evidence and implications.  Antisocial Behavior in Online Discussion Communities Ape and Human Cognition: What's the Difference? Chris Ofili: Can art still shock us? Chris Ofili, The Holy Virgin Mary  Emotion Shapes the Diffusion of Moral Content Facebook Manipulated User News Feeds To Create Emotional Responses  How A Urinal Changed Art History: The Duchamp Fountain How Upton Sinclair's ‘The Jungle' Led to US Food Safety Reforms How (and where) does moral judgment work? How the Shock Jock Became the Outrage Jock Marcel Duchamp: The Forefather of Conceptual Art More Transparency and Less Spin Movement, Affect, Sensation Musk's Political Posts Online hate speech victimization: consequences for victims' feelings of insecurity Piss Christ by Andres Serrano  Social Influence Bias: A Randomized Experiment Still Amusing Ourselves The Art of Absurdity: Resurgence of Dadaism through Gen-Z memes. The Attention Merchants: The Epic Scramble to Get Inside Our Heads The Crowd: A Study of the Popular Mind By Gustave Le Bon   The Cultural Politics of Emotion by Sara Ahmed The Dada Era of Internet Memes The Disinformation Dozen The Emotional Dog and Its Rational Tail: A Social Intuitionist Approach to Moral Judgment  “The Great Moon Hoax” is published in the “New York Sun” The Shock Of The New: Art And The Century Of Change  The urinal that changed how we think These Influencers Are Making Content to Make You Angry — And It's Working  Understanding Media - The Extensions of Man  Walter Lippmann and Public Opinion What is rage-baiting and why is it profitable?  Yellow Journalism  YouTube, the Great Radicalizer

Dave is revisiting some of his favorite episodes and interviews for his ‘Best of Dave Chang Show' series. In this episode, Pulitzer Prize-winning art critic, beloved 'Dave Chang Show' guest, and 'Art is Life' author Jerry Saltz returns to survey the state of art and food in 2022, and deliver a bracing dose of motivation to Dave, Chris, and anyone else out there embarking on a potentially terrifying creative endeavor. Also: ancient DNA, private psyches, Chris Ofili, Laurie Anderson, zombie formalism, the end of linear time, dirty shamans, Jasper Johns, caveman cooking, F. Murray Abraham, Ai Weiwei, 'The Raft of the Medusa,' Dolly Parton, fighting your demons, Neal Brennan, Thomas Kinkade, art vs. craftsmanship, Cy Twombly, Jason Polan, and a Coen Brothers debate. Hosts: Dave Chang and Chris Ying Guest: Jerry Saltz Producers: Sasha Ashall, Jordan Bass, and Victoria Valencia Learn more about your ad choices. Visit podcastchoices.com/adchoices

Curator Ekow Eshun reframes the Black figure in historic and contemporary art, surveying its presences, absences, and representations in Western/European art history, the African diaspora, and beyond, via The Time is Always Now (2024). In 1956, the American author James Baldwin wrote: ‘There is never time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now.' Heeding Baldwin's urgent call, Ekow Eshun's new exhibition brings together 22 leading contemporary African diasporic artists from the UK and the US, whose practices emphasise the Black figure through mediums such as painting, drawing, and sculpture. These figurative artists and artworks address difficult histories like slavery, colonialism, and racism and, at the same time, speak to contemporary experiences of Blackness from their own personal perspectives. Ekow explains how artists like Kerry James Marshall, Amy Sherald, and Thomas J. Price acknowledge the paradox of race, and the increased cultural visibility and representation of lived experiences. Beyond celebration, though, The Time Is Always Now follow the consequences of these artists' practices, and what is at stake in depicting the Black figure today. We discuss the plurality of perspectives on view, and how fragmented, collage-like works by Nathaniel Mary Quinn, Lorna Simpson, and Titus Kaphar reconsider W.E.B. Du Bois' understanding of ‘double consciousness' (1897) as a burden, to a 21st century vantage point. Ekow shares the real people depicted in Michael Armitage's surrealistic, religious scenes, whilst connecting works with shared motifs from Godfried Donkor's boxers, to Denzil Forrester and Chris Ofili's dancing forms. We talk about how how history is not just in the past, and how we might think more ‘historically from the present'. Plus, we consider the real life relationships in works by Njideka Akunyili Crosby and Jordan Casteel, - and those shared between artists like Henry Taylor and Noah Davis - shifting the gaze from one of looking at, to looking with, Black figures. Starting at the National Portrait Gallery in London, The Time is Always Now: Artists Reframe the Black Figure travels to The Box in Plymouth from 28 June to 29 September 2024. It will then tour to the Philadelphia Museum of Art and North Carolina Museum of Art in the US into 2025. And as promised, some news - this episode announces my appointment as Contemporary Art Curator at The Box in Plymouth. Join me there in conversation with Ekow on Saturday 29 June, and with Hettie Judah, curator and writer of Acts of Creation with exhibiting artists Barbara Walker, Claudette Johnson, and Wangechi Mutu, on Saturday 20 July. You can also join a Bitesize Tour on selected Wednesdays during the exhibition. And you can hear this episode, and more from the artists, on the Bloomberg Connects app by searching ‘The Box Plymouth'. EMPIRE LINES will continue on a fortnightly basis. For more about Claudette Johnson, hear curator (and exhibition text-contributor!) Dorothy Price on And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath. Hear curator Isabella Maidment on Hurvin Anderson's Barbershop series (2006-2023) at the Hepworth Wakefield. Read about that show, and their work in Soulscapes at Dulwich Picture Gallery in London, in recessed.space. Hear Kimathi Donkor on John Singer Sargent's Madame X (1883-1884) and Study of Mme Gautreau (1884) at Tate Britain in London. 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

Det är ingen nyhet att den kreativa sidan av modefältet domineras av vita människor och att dess utveckling präglats av att främst vita människor haft tillträde till den.  Just nu pågår många initiativ för att öka mångfalden och inkluderingen i olika modeföretag och modeskolor.  Men man behöver också berätta andra historier om mode och vidga idén om vad mode är. I dagens avsnitt står social hållbarhet i fokus, där mångfald och inkludering är en självklar del. Vi tar avstamp i en utställning som gick på Somerset House i London under hösten och vintern, The Missing Thread: Untold Stories of Black British Fashion, som på ett fantastiskt sätt berättade historien om svart brittiskt mode genom fyra teman: home, tailoring, performance och nightlife. Varje tema inbegrep, i vid bemärkelse, rum där svart brittiskt mode och design dels hämtat inspiration, dels utvecklats och blomstrat på helt egna villkor. Historien, som återberättas i podden, är oerhört gripande men också djupt fascinerande och utställningen var i sig en hyllning och ett erkännande till en uppsjö svarta brittiska designers som tidigare inte fått den uppmärksamhet de förtjänar.  Vi talar om strategier man tar till när ens karriär inte tar fart på samma sätt som den vita normen, om hur rasism kom till uttryck på 80- och 90-talen, om Joe Casely-Hayford – den förbisedda designern som till slut fick ett postumt erkännande av British Fashion Council i höstas, vi pratar om intersektionalitet, om anpassning, om vad Morgan Stanley som var stolt huvudsponsor av utställningen kunde lära sig av den, om korsbefruktning mellan mode, konst, musik, nagelbarer, med mera, om kulturell appropriering och autenticitet.  Vi samtalar med utställningens curator, Andrew Ibi, forskare och lärare vid Liverpool John Moores University där han leder modeinstitutionen, men också själv designer, och DJ och entreprenör. Vi träffar också Patricia Saunders, professor i engelska vid University of Miami, specialiserad inom karibiska studier och författare till boken Buyers Beware och Donna Hope, professor i kultur, samhälle och genus vid University of West Indies i Jamaica, och också hon specialiserad inom karibiska studier. Donna Hope är författare till boken Dancehall Queen. Designers som omtalas i avsnittet är bland andra Joe Casely-Hayford, Ozwald Boateng, Bruce Oldfield, Chris Ofili, Eddie Chambers, Ninivah Khomo, Monisola Omotos, Maud Sulter, Faisal Abdu'Allah, Christine Checinska, Keith Piper, Nicholas Daley, Bianca Saunders och Saul Nash. Programmet leds av Jenny Lantz, docent i företagsekonomi med inriktning på kulturekonomi vid Handelshögskolan i Stockholm. Intervjuerna med Patricia Saunders och Donna Hope görs av modejournalisten Sofia Hedström de Leo. Bakom podden står också forskaren Tina Sendlhofer, Stockholm Environment Institute. Tack för att du lyssnar! Följ oss gärna på 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.

Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite's work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland. TRAPDOOR, 2022, Oil on canvas, 140 x 120 cm BLIZZARD, 2022, Oil on Canvas, 150 x 180 cm  

Pulitzer Prize–winning art critic, beloved 'Dave Chang Show' guest, and 'Art Is Life' author Jerry Saltz returns to the show to survey the state of art and food in 2022, and to deliver a bracing dose of motivation to Dave, Chris, and anyone else out there embarking on a potentially terrifying creative endeavor. Also: ancient DNA, private psyches, Chris Ofili, Laurie Anderson, zombie formalism, the end of linear time, dirty shamans, Jasper Johns, caveman cooking, F. Murray Abraham, Ai Weiwei, "The Raft of the Medusa," Dolly Parton, fighting your demons, Neal Brennan, Thomas Kinkade, art vs. craftsmanship, Cy Twombly, Jason Polan, and a Coen Brothers debate. Hosts: Dave Chang and Chris Ying Guest: Jerry Saltz Producers: Sasha Ashall and Jordan Bass Learn more about your ad choices. Visit podcastchoices.com/adchoices

Usually the things that are the farthest out — that look the least like art to me — are the things that become the most important.   American painter Glenn Ligon is one of the most recognizable figures in the contemporary art scene. His distinctive, political work uses repetition and transformation to abstract the texts of 20th-century writers. In this episode, Ligon talks about childhood and what it means to have a parent who fiercely and playfully supports you. He also discusses the essential lesson that there's value in the things you do differently, and why he won't take an afternoon nap in his own studio.  References: Courtney Bryan Pamela Z  Samiya Bashir Thelma Golden Robert O'Meally Romare Beardon Toni Morrison Lorna Simpson Margaret Naumberg The Walden School Mike D - Beastie Boys Murders of Chaney, Goodman, and Schwerner Davóne Tines Chris Ofili  Henry Threadgill Frédéric Bruly Bouabré “How It Feels to Be Colored Me” Saidiya Hartman Fred Moten Jason Moran

Ben Luke talks to Lina Iris Viktor about her influences—including writers, film-makers, musicians, and, of course, other artists—and the cultural experiences that have shaped her life and work. Born in the UK in 1987, the Liberian-British artist works in painting, sculpture, photography, performance and installation. She creates works that reflect on her own identity amid broader themes—history and geopolitics, astrophysics and maths, ancient myths and belief systems—to explore universal implications of blackness. Among much else, she discusses her love of Rebecca Horn's Concert for Anarchy (1990); the influence of Chris Ofili, Louise Nevelson and Seydou Keïta; her enduring engagement with the writing of Jun'ichirō Tanazaki and Sylvia Plath; and her response to the films of Ingmar Bergman and Carl Dreyer. And, as usual, we find out about her life in the studio, and ask the ultimate question: what is art for?In the Black Fantastic, Hayward Gallery, London, until 18 September; Rite of Passage: Lina Iris Viktor with César, Louise Bourgeois, Louise Nevelson and Yves Klein, LGDR, London, until 17 September See acast.com/privacy for privacy and opt-out information.

This week WGSN Business Development Manager Sam Boakye and Insight Strategist Mel Larsen talk to British writer, curator and broadcaster Ekow Eshun about his new exhibition "In The Black Fantastic" now showing at London's Hayward Gallery. Ekow has been described as a ‘cultural polymath' by The Guardian, he is chairman of the Fourth Plinth Commissioning Group, overseeing the most prestigious public art programme in the UK, and the former Director of the ICA, London. He is the author of critically lauded books Black Gold of the Sun, Africa State of Mind, and, most recently In the Black Fantastic. At WGSN part of our STEPIC methodology that we use in our trend forecasting includes looking at culture and creativity, and so in that vein we invited Ekow on the show to talk about the exhibition and accompanying book. We spoke more widely about themes of The Black Fantastic vs Afrofuturism, the power of speculative film and fiction, the relevance of artists from Chris Ofili to Beyonce in expressing the Black experience and the concept of double consciousness.

From Beyonce to Octavia Butler, from Chris Ofili to Jordan Peele, the speculative and the mythical have been used as powerful tools to shape Black art, film, music and writing. Ekow Eshun, who has curated a new exhibition on this theme at the Hayward Gallery, joins Shahidha Bari along with DJ/turntablist NikNak and New Generation Thinker Louisa Egbunike to discuss how this idea of the Black Fantastic relates to and in some ways challenges Afrofuturism. In the Black Fantastic runs at the Hayward Gallery, London until 18th September 2022. The exhibition is accompanied by a book and by a season of films at the BFI, including Djibril Diop Mambéty's 1973 film Touki Bouki which you can hear being discussed by Matthew Sweet and guests in another edition of Free Thinking available on BBC Sounds. NikNak is touring the UK with Sankofa, her latest multi-media project and album, from 12th-18th July. Details can be found on the Sound UK website. Producer: Torquil MacLeod

Curator Ekow Eshun on creating In The Black Fantastic: the UK's first major exhibition dedicated to the work of Black artists who use fantastical elements to address racial injustice and explore alternative realities. With works from 11 contemporary artists from the African diaspora, it delves into myth, science fiction, traditions, and the legacy of Afrofuturism to address colonialism, racial politics and identity. Encompassing painting, photography, video, sculpture and mixed-media installations, the exhibition features artists including Nick Cave, Hew Locke, Chris Ofili and Lina Iris Viktor. Dubbed the Queen of the Qanun, Maya Youssef is a composer and virtuoso of the Syrian instrument. The qanun is typically played by men, but Maya broke the mould as a young musician growing up in Damascus. Her new album ‘Finding Home' deals with emotions dealing with the loss of her homeland as well as being inspired by coping with lockdowns, and weaves a musical tapestry of traditional Syrian music with Western classical and jazz. Maya performs live in the studio. The artist Colin Davidson is best known for his portraits of high profile figures including Bill Clinton, Brad Pitt and the Queen. A new exhibition of his work spans his whole career, including some works painted while he was still at school. Kathy Clugston joins Colin Davidson on a walk around the exhibition to hear about his process when capturing famous faces and why he never imagined he'd be a portrait painter. Presenter: Elle Osili-Wood Producer: Kirsty McQuire Image: Lina Iris Viktor, Eleventh, 2018. Pure 24 karat gold, acrylic, ink, copolymer resin, print on matte canvas. © 2018. Courtesy the Artist. From In The Black Fantastic at London's Hayward Gallery.

This episode we take a look at the man who turned elephant shit into fine art. SAMHSA (Substance Abuse and Mental Health Service Administration) https://www.mentalhealth.gov/get-help/immediate-help RAINN (Rape, Abuse & Incest National Network): https://www.rainn.org     Don't forget to subscribe. Follow me on TikTok: @BannedRonnie Twitter: @RonnieUrsenbach Facebook: @BannedMediaPodcast Instagram: @BannedMediaPodcast or send e-mail to BannedMediaPodcast@gmail.com

Art historian, printmaker and writer Dr Amy Jeffs is joined in conversation by author and journalist Charlotte Higgins to discuss how ancient myths and legends are constantly retold and reimagined by new storytellers. Amy Jeffs' book, Storyland: A New Mythology of Britain, is a retelling of 30 medieval myths and legends. Charlotte Higgins' book, Greek Myths: A New Retelling, provides a refreshed narrative by focusing on the perspective of women in the stories of Ancient Greece, with illustrations from Turner Prize-winning artist Chris Ofili. Learn more about your ad choices. Visit megaphone.fm/adchoices

Big news: You can now listen to the DrawTogether Podcast on iTunes and Spotify! We’ll continue to share the podcast here in our DT Club Newsletter, and paying subscribers get additional behind the scenes tips, interviews, and inspiration. We count on your support to keep going, so please and thank you for your support! And without further ado… Hit the play button above for the new podcast ep! We call it, “The Big Warm Up.”Athletes warm up before a game. Musicians warm up before a performance. Should artists warm up before drawing? HECK YES WE SHOULD. On today’s DT podcast, we learn a quick warm up exercise to loosen the muscles and mind, get our blood flowing and heart pumping, and help us draw with our whole bodies. Whether it’s making a cup of tea, putting on some music or doing some stretches, many artists do some kind of warm up to switch into making mode. The British painter Chris Ofili starts every day in his studio by creating a few abstract pencil drawings and loose watercolor portraits.The American painter Wayne Thiebaud (who passed away a month ago at the age of 101) started his days with a game of tennis before heading to his studio to paint. How about you? What gets you into the making mood? Share your warm up routine in the comments!And PRIZES: Thanks to everyone who told us how you listen to the podcast. So happy to hear you’re all digging it. And our three winners are… Anna David, Linh Nguyen, and Cherylann Ganci! Congrats and please email WendyMac@DrawTogether.Studio to claim your prize. Everyone else: more chances for DT Swag coming soon.And as we say at the end of everything, including Friday newsletters: Everything is better when we DrawTogether. See you soon.

In this episode Dr Jay Hicks discusses Chris Ofili's brilliant painting No Woman, No Cry in the context of the BLM movement. 

Aubrey Williams, Horace Ové, Sonia Boyce, Lubaima Himid, Peter Doig, Chris Ofili, Hurvin Anderson, Grace Wales Bonner and Alberta Whittle have works on show at Tate Britain as part of an exploration of artists from the Caribbean who made their home in Britain, and British artists who have looked at Caribbean themes and heritage in their work. Shahidha Bari's guests include the curator David A Bailey, New Generation Thinker Sophie Oliver and academic Asha Rogers. David A Bailey is co-curator of Life Between Islands, Caribbean British Art from 1950 at Tate Britain which runs until 3 April 2022 Lubaima Himid's exhibition runs at Tate Modern until 3 July 2022. You can find a discussion about the Black British Art movement in this playlist exploring Black History on the Free Thinking website - it also includes conversations about the writing of Maryse Condé, Aimé Césaire, with Kei Miller and Colin Grant, and a discussion of sugar https://www.bbc.co.uk/programmes/p08t2qbp Sophie Oliver is a BBC AHRC New Generation Thinker and Lecturer in Modernism at the University of Liverpool. You can hear her Essay on Jean Rhys's dress here: https://www.bbc.co.uk/programmes/m000v870 Asha Rogers is Associate Professor in Contemporary Postcolonial Literature at the University of Birmingham. She is the author of State Sponsored Literature: Britain and Cultural Diversity after 1945. Producer: Ruth Watts

The increasing influence of African spirituality on Western society is very evident. You can read it in the work of novelists like Ben Okri, see it in the work of artists such as Chris Ofili and hear it in the music of pop superstars like Beyonce. Partly driven by the desire of young people within the African diaspora to find a deeper connection to their African heritage, African spirituality is very different to Christianity or Islam; religions brought to Africa by colonizing forces. It contains many diverse beliefs which differ from region to region. There are no scriptures – the traditions are passed on by word of mouth – and ancestors play a key role. Many of the practices are not found in Western culture (such as juju), but they express deep spiritual convictions and bind societies together. To discuss African spirituality, Ernie Rea has assembled a panel of experts from across the African continent. Born in Nigeria in the West of Africa, Jacob K Olupona is Professor of African Religious Traditions at Harvard Divinity School and Professor of African American Studies in the Faculty of Arts and Sciences at Harvard University. Mary Nyangweso was born in Kenya in East Africa and is Professor of Religious Studies at East Carolina University. And Adeola Aderemi is a Holistic Healer who bases her practice on her Isese Ifa spirituality with its origins in the Yoruba culture of Southern Nigeria. Ernie also talks to Nigerian born artist Laolu Senbanjo who now works in New York. Laolu's art is influenced by his Yoruba heritage and practice of African spirituality. His ‘Sacred Art of the Ori' (Yoruba symbols painted onto the naked body) featured on Beyoncé's 2016 Grammy award winning video for her concept album ‘Lemonade'. Producers: Helen Lee Julian Paszkiewicz Image: Original painting by Laolu Senbanjo on display at the Belvedere Vodka x Laolu Senbanjo collaboration celebration on September 6, 2018 in New York City. Credit: Johnny Nunez/WireImage via Getty Images

Farhana Shaikh is a writer and publisher born in Leicester. She is the editor of The Asian Writer and also manages the small independent press, Dahlia Publishing. In 2017, she won the inaugural Travelex / Penguin Next Great Travel Writer Competition and a year later, was long-listed for the 2018 Spread the Word Life Writing Prize. She can be found on Twitter talking about books and publishing @farhanashaikh. The partner Renaissance OneRenaissance One is an independent arts company based in the UK that produces, curates and galvanises literature. We promote high-quality literature of all kinds. We highlight global voices in contemporary Britain, and the diverse arts and cultures that its writers, artists and communities produce. Our name is inspired by the Harlem Renaissance and the importance of rebirth and renewal. Since 1999, we have worked with leading and emerging voices including Bernardine Evaristo, Paul Beatty, Ali Smith, Gary Younge, Kerry Young, Caryl Philips, Shivanee Ramlochan, Kei Miller and the late Amiri Baraka. Through productions, creative business models, mentoring and artistic success as an organisation led by people of colour, we push for greater diversity in the arts, and shape education programmes to inspire communities.  About moderator Melanie AbrahamsMelanie Abrahams Hon FRSL FRSA is a producer, arts curator, visiting lecturer, and mentor who has channeled a love of words and books into initiatives. Melanie has over 18 years' experience in producing and curating, and her practice steers a focus on narratives of race, class, mixed-race identities and intersectionality. Of Trinidadian and Jamaican heritage, she has instigated and curated many events, exhibitions and festivals on the Caribbean including Caribbeanfest at the British Library and a Cultural Village festival with Dominique Le Gendre for the Trinidad and Tobago High Commission as part of the Olympics' cultural programme. Melanie has collaborated with organizations including V&A (Jamdown Meets Liming), Chris Ofili and Victoria Miro Gallery (Freedom One Day), Paradiso Amsterdam (Urban Love), Museum of Modern Art Finland (Modern Love), Black Cultural Archives and Nottingham Contemporary and The Centre for Research in Race and Rights (C3R), (Unspeakable Things Unspoken) www.melanieabrahams.co.ukMusic: Luminance by Ghostrifter Officialhttps://soundcloud.com/ghostrifter-officialCreative Commons — Attribution-ShareAlike 3.0 Unported — CC BY-SA 3.0Free Download / Stream: http://bit.ly/_luminanceMusic promoted by Audio Library https://youtu.be/EUp6JHXTcxk

We discuss YBA artist Chris Ofili's work 'The Holy Virgin Mary' and its mixed media impact. Sinead is into it.

This week's episode of the Vintage Books Podcast features an extract from the audiobook of Greek Myths by Charlotte Higgins, illustrated by Chris Ofili.Content notice: this episode contains mentions of rape and sexual violence.You can find out more about the book here: https://bit.ly/greekmyths_CsFollow us on Twitter @vintagebooks ᛫ Sign up to the Vintage newsletter to hear all about our new releases, see exclusive extracts and win prizes: sign up here ᛫ Music by puremusic See acast.com/privacy for privacy and opt-out information.

Il Turner Prize è uno dei premi più significativi nella scena internazionale dell'arte contemporanea. Dal 1984, viene assegnato agli artisti britannici più interessanti e dirompenti e ogni sua edizione è stata segnata da qualche forma di provocazione. E anche nel 2021, il Turner Prize ha mantenuto fede al suo spirito provocatorio, candidando non degli artisti in senso stretto, ma cinque collettivi di attivisti politici che, fino a ieri, non avremmo mai pensato di vedere esposti nei musei: Array Collective, B.O.S.S., Cooking Sections, Gentle/Radical e Art Work Project.In questa puntata si parla di Martin Creed, Chris Ofili, Art & Language, Otolith, Forensic Architecture, Assemble, Array Collective, Michel Houellebecq, Maneskin, B.O.S.S. (Black Obsidian Sound System), Cory Arcangel, Fiorello, Jade Montserrat, Anthony d'Offay, Steve McQueen, Cooking Sections (Daniel Fernández Pascual e Alon Schwabe), Henry Kissinger, Deng Xiaoping, Slobodan Milosevic, Mauro Uliassi, Greta Thunberg, CAMP, RAQS Media Collective, Gentle/Radical, Jack Smith, Project Art Works, Franco Basaglia, ruangrupa, Alex Farquharson, Aaron Cezar, Kim McAleese, Russell Tovey, Zoé Whitley e Todd Solondz.

Rochelle Saunders is a cultural producer, curator and project manager with over 10 years of work experience that covers the arts, education, and community leadership. With particular expertise in literature, her work has focused on projects in national and international contexts. A graduate politics student from SOAS, she recently completed a master's degree at The University of Arts London, in Arts and Cultural Enterprise, where she held an academic interest in sustainable and transformative social change frameworks.She has worked as a creative producer at Renaissance One and Tilt live literature and spoken word organizations that primarily support underrepresented writers. In January 2020 she joined The British Council Literature team and recently became a Trustee at New Cross Gate Trust a grassroots community charity as director for education.About partner Renaissance OneRenaissance One is an independent arts company based in the UK that produces, curates and galvanises literature. We promote high-quality literature of all kinds. We highlight global voices in contemporary Britain and the diverse arts and cultures that its writers, artists and communities produce. Our name is inspired by the Harlem Renaissance and the importance of rebirth and renewal. Since 1999, we have worked with leading and emerging voices including Bernardine Evaristo, Paul Beatty, Ali Smith, Gary Younge, Kerry Young, Caryl Philips, Shivanee Ramlochan, Kei Miller and the late Amiri Baraka. Through productions, creative business models, mentoring and artistic success as an organization led by people of colour, we push for greater diversity in the arts, and shape education programmes to inspire communities.About moderator Melanie AbrahamsMelanie Abrahams Hon FRSL FRSA is a producer, arts curator, visiting lecturer, and mentor who has channeled a love of words and books into initiatives. Melanie has over 18 years' experience in producing and curating, and her practice steers a focus on narratives of race, class, mixed-race identities and intersectionality. Of Trinidadian and Jamaican heritage, she has instigated and curated many events, exhibitions and festivals on the Caribbean including Caribbeanfest at the British Library and a Cultural Village festival with Dominique Le Gendre for the Trinidad and Tobago High Commission as part of the Olympics' cultural programme. Melanie has collaborated with organizations including V&A (Jamdown Meets Liming), Chris Ofili and Victoria Miro Gallery (Freedom One Day), Paradiso Amsterdam (Urban Love), Museum of Modern Art Finland (Modern Love), Black Cultural Archives and Nottingham Contemporary and The Centre for Research in Race and Rights (C3R), (Unspeakable Things Unspoken) www.melanieabrahams.co.ukMusic:Luminance by Ghostrifter Officialhttps://soundcloud.com/ghostrifter-officialCreative Commons — Attribution-ShareAlike 3.0 Unported — CC BY-SA 3.0Free Download / Stream: http://bit.ly/_luminanceMusic promoted by Audio Library https://youtu.be/EUp6JHXTcxk

We present a special feature of art and poetry, exploring themes of love and desire. Artworks discussed are by Michelangelo, Ana Benaroya, Chris Ofili, and Leonor Fini. Poetry featured in the episode was written by Rainer Maria Rilke, Audre Lorde, John Donne, and Richard Wilbur. Links to the artworks discussed: The Rape of Ganymede by Michelangelo Mother May I by Ana Benaroya Annunciation by Chris Ofili (More Photos here and here) Cthonian Deity Watching Over the Sleep of a Young Man by Leonor Fini All music in the episode is by Kevin MacLeod. "In Your Arms" "George Street Shuffle" "Gymnopedia No. 1" "Bittersweet" and "Windswept" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ --- Support this podcast: https://anchor.fm/the-artist-confluence/support

Epsiode 34: Applying principles of art collecting to high jewelry. Lisa Anderson, Art Advisor, Curator and Founder, @BlackBritishArt, joins us to explore how the principles used to build a contemporary art collection can be applied to collecting jewelry as art. We discuss how to balance emerging, mid-career and established artists (and jewelers), as well as how she approaches her curation of emerging artists for exhibitions and fairs, such as the Venice Biennale and Art Basel and how this information can be used to build or add to a jewelry curation as well. Artists discussed (some participating!) include El Anatsui, Sonia Boyce, Latoya Boyd, Simone Brewster, Nick Cave, Jasmine Thomas Girvan, Lauren Harwell Godfrey, Anthea Hamilton, JAR, Lenique Louis, Steve McQueen, Munnu The Gem Palace, Chris Ofili, Ebony Patterson, Taffin, Emmanuel Tarpin, VAK, LR Vandy, Mickayla Yearwood-Dan and Inonge Zita. We take viewer questions throughout. Interested listeners can also view additional imagery at the Beekman New York instagram @beekmannewyork as well as to view the full interview at the Beekman New York Fine Jewelry Podcast on YouTube. Each episode of the series features a conversation between Dr. Sharon Novak, certified gemologist and co-founder of Beekman New York, and an industry expert within the luxury space, highlighting their shared joy and appreciation of fine jewelry. Topics include mixing period jewelry with modern pieces, heritage and craftsmanship of luxury jewelry houses worldwide, certfied natural and phenomenal gems and collecting vintage jewelry.

In this edition of Behind The Report, Adam Green previews our brand new series of reports, Then & Now, that will explore how different artist groups or movements from the past are faring in today’s auction market. In this first edition of the series, we look at the group of Young British Artists (YBAs) who emerged during the 1990s and in particular, those artists that participated in the infamous Sensation exhibition at the Royal Academy of Arts in 1997. This includes Damien Hirst, Jenny Saville, Chris Ofili, Tracey Emin, Glenn Brown, Marc Quinn, Sarah Lucas and many others.

An epic live episode of Dialogues. In journeying deep into Homer’s Odyssey in front of an audience at David Zwirner’s 69th Street gallery in New York, artist Chris Ofili and classicist Emily Wilson encounter religion, art, personal history, gender issues, Trinidad, Greece, truth, lies. Featuring a live reading from Wilson, the first woman to translate The Odyssey into English and a 2019 MacArthur Fellow

Talk Art NEW YORK!!! Russell & Robert meet painter Katherine Bernhardt in the BIG APPLE. We discuss her early paintings of ET, growing up in St Louis, a teenage exchange trip to Portugal & Morocco that led to a love of ceramics & berber rugs, before eventually moving to Chicago & New York to study art. We explore her love of Georgia O'Keeffe, Chris Ofili, Laura Owens, Stanley Whitney & Mary Heilmann, why she started to paint Pink Panther & Garfield, her recent experiences exhibiting in Tokyo, making tiles & plates in Guadalajara and why she chose to renovate a new painting studio in Puerto Rico. We discuss her large-scale murals, furniture-making, visiting legendary artist Louise Bourgeois at her studio, painting a portrait for rapper icon Drake and her friendship with artist Brian Belott. Plus listen to the first ever Talk Art karaoke!!! View more images at KB's Instagram @KBernhardt2014 and @TalkArt. See acast.com/privacy for privacy and opt-out information.

New season! In this first episode, we talk to Timothy Spall about the new film Mrs Lowry and Son and to Jacqueline Riding who worked closely with Spall as an art consultant on Mike Leigh's Mr Turner. Plus, Chris Ofili and Jasmine Thomas-Girvan give an exclusive interview about their show at David Zwirner in London and their lives and work in Trinidad. See acast.com/privacy for privacy and opt-out information.

Marie-Eve Lafontaine meets Margot Norton in this illuminating and insightful conversation covering the prolific curator's journey to the New Museum, where she has curated the current Sarah Lucas exhibition. Norton joined the New Museum in 2011 as an assistant curator, and today, having risen to the post of Curator, has worked on “Here and Elsewhere”, “NYC 1993: Experimental Jet Set, Trash and No Star". She's also collaborated on projects involving Chris Ofili, Ragnar Kjartansson and Laure Prouvost.

In this week's episode of the ArtTactic Podcast, Katya Kazakina, art market report for Bloomberg News, joins us to discuss the important correction happening in the art world in which collectors and museums are increasingly focusing on collecting Black artists. First, Katya pinpoints how and when this correction began. Then, she discusses how important it has become for prominent museums to acquire Black artists for their collections and how successful they have been at this given the recent increase in prices for these artworks. After, Katya identifies some of the key Black artists being targeted by museums, including Mark Bradford, Sam Gilliam, David Hammons, Barkley Hendricks, Chris Ofili and others. Also, Katya talks about how this trend is translating at art galleries, where they are beginning to show and represent more younger black artists. Lastly, Katya speculates if this trend will be more long-lasting than others in the art market and she also highlights some Black artists who will be up for auction in next month's May auctions.

What is life? What is art? And what is the most beautiful type of animal dung? All important questions to be answered in this week's episode, where we talk about some of the most famous works of art featuring everyone's favorite waste product. Or in some case, creating our favorite waste product. And if that doesn't convince you, we also spend some time discussing the festive shape of men's butts. Artwork discussed on the show: Cloaca by Wim Delvoye: https://www.wimdelvoye.be/work/cloaca The Holy Virgin Mary by Chris Ofili: https://www.khanacademy.org/humanities/global-culture/identity-body/identity-body-europe/a/chris-ofili-the-holy-virgin-mary No Woman No Cry by Chris Ofili: https://www.google.com/culturalinstitute/asset-viewer/no-woman-no-cry-view-in-light/bwEqkX2cKDce7Q?hl=en&l.expanded-id=ygGPI7L9OPC7TA Artist's Shit by Piero Manzoni: http://www.tate.org.uk/context-comment/articles/excremental-value Theme music: I Feel Fantastic by Jonathan Coulton, www.jonathancoulton.com

本期的话题包括 Dropbox 与微软结盟，Office for iOS 改走 freemium 模式，Amazon 的「实体 Siri」Echo。最后，李如一会告诉大家纽约的 Uber 司机的培训有多差。此外，中国教育网用户不能下载节目的问题已经解决。 相关链接 设计师杜潇做的 Good Stuff Google Quick Search Box Rio: 图解苹果 2014 年四季度财报 Chris Ofili Chris Ofili 的《Afro Margin》系列中的一幅 Amazon Echo Tim Cook 出柜的公开信 Kevin Roose: Does Silicon Valley Have a Contract-Worker Problem? 人物简介 李如一：字节社创始人。 Rio: Apple4us 程序员。

Chris Ofili spielt mit etablierten Repräsentationsweisen. Er adaptiert stereotype Vorstellungen von Identität, Herkunft und Aussehen, spickt diese mit unterschiedlichen Bezügen und Motiven und schafft durch die künstlerische Transformation ein neuartiges, hybrides Menschenbild. Er schöpft dabei aus den disparatesten Quellen wie Pornografie, christlicher Ikonografie, griechischer Mythologie, afrikanischer Höhlenmalerei, 1970er Motivik aus der Populärkultur sowie von Künstlern wie David Hammons, Francis Picabia, Pablo Picasso und den Bildkonzepten der Moderne. Die Technik der Adaption und Transformation von Motiven, Repräsentationen und bildhaften Vorstellungen kann mit dem Konzept des Samplings erklärt werden, welches in der schwarzen Tradition und vor allem im HipHop fest verankert ist. Die Technik des Samplings zielt nicht allein auf die reine Kopie von Bildern und Geschichten. Stattdessen wird sie als künstlerisches Konzept eingesetzt, um mit dem Akt des Aneignens und Übersetzens von fremden Dingen in die eigene künstlerische Gegenwart gebräuchliche Traditionen und Konventionen zu manipulieren. Diese Technik macht sich der afro-britische Künstler Chris Ofili für seine Bilder, Skulpturen und Zeichnungen sowie für seine Selbstinszenierung als kreative Person zu Eigen. Mit der subversiven Kulturtechnik des Samplings wird ein alternativer Raum geschaffen für eine neuartige Kreativität aus der Marginale, ein Raum für eine neue Sprache und letztlich für eine neue Art der Repräsentation. Chris Ofili nimmt durch den Einsatz dieser künstlerischen Strategien eine selbstbewusste Stellung innerhalb der immer noch mehrheitlich von Weißen dominierten Kunstwelt ein und artikuliert ein komplexes Menschenbild, das ungezwungen aus allen möglichen Bezügen der Welt eine neuartige Identität schöpft und nicht mehr einer veralteten Idee von Authentizität nacheifert. Die Doktorarbeit Strategien der Repräsen-tation – Chris Ofili und das Konzept des Samplings setzt sich zum Ziel, Sampling als Technik des Aneignens und Transformierens am Werkbeispiel von Ofili zu erarbeiten. Dabei wird die Traditionslinie dieser kulturellen Produktionstechnik in seiner Entstehung nachgezeichnet und mit kultur-theoretischen Ansätzen in Anlehnung an Stuart Hall, Homi Bhabha sowie Franz Fanon als Strategie zur Artikulation von neuen Repräsentationsformen vorgestellt. Diese Strategie wird im Folgenden paradigmatisch erläutert. Chris Ofili ist 1968 in Manchester geboren. Seine Eltern kommen aus Nigeria und sind kurz vor Ofilis Geburt nach England immigriert. Ofili kennt Afrika nur aus den Erzählungen seiner Eltern, bis er 1993 an einem Austauschprogramm nach Zimbabwe teilnimmt, wo er zum ersten Mal eine persönliche Beziehung und ethnische Bezugslinie zu Afrika aufgebaut hat. In Zimbabwe stößt Ofili auf Elefantendung als gestaltendes/gestaltbares Material sowie auf historische Höhlenmalereien in den Matopos Bergen. Diese starken Prägungen ziehen sich wie ein roter Faden durch das frühe Werk. Insbesondere die Entdeckung der animalischen Exkremente als Medium der Malerei wurde in der Folge in vielen Texten zu Ofili als Schlüsselelement gern aufgegriffen und letztendlich zu einer Art Mythos stilisiert, mit dem dann auch Ofili seinerseits selbst zu spielen beginnt. In einem Gespräch mit Godfrey Worsdale 1998 etwa deutet der Künstler an, dass die Geschichte aus Zimbabwe vielleicht von ihm einfach nur erfunden worden sei.1 1993 wiederum veranstaltet er sogenannte Shit Sales. Die Performance ist eine Anspielung auf den afro-amerikanischen Künstler David Hammons, der 1983 am Cooper Square in New York einen sogenannten Bliz-aard Ball Sale veranstaltet und dabei Passanten Schneebälle zum Kauf angeboten hatte, wie Ofili selbst erklärt: „I was sampling David Hammons' Snowball Sale. I called it Chris Ofilis Shit Sale.“2 Ofili übernimmt das Konzept jedoch nicht 1:1 von Hammons, sondern transformiert es für seine eigenen künstlerischen Zwecke um, und zwar ironischerweise als „an attempt to get a direct response to elephant shit.”3 Denn anstatt Schnee stellt er Köttel aus Elefantenkot aus, ohne sie zum Verkauf anzubieten. „Odder still, a number of people regarded Ofili himself as the work.“4 Die Reaktionen auf die Shit Sales veranlassen Ofili, unverblümt mit den Vorurteilen gegenüber seiner Kunst beziehungsweise den Erwartungen des Publikums selbst zu spielen: It's what people really want from black artists. We're the voodoo king, the voodoo queen, the witch doctor, the drug dealer, the magicien de la terre. The exotic, the decorative. I'm giving them all of that, but it's packaged slightly differently.5 Dieses Zitat verdeutlicht, dass und wie Ofili Klischees, Motive und nicht zuletzt das Image des schwarzen Künstler gezielt spielerisch inszeniert. Ofili präsentiert sich in dieser Zeit bei seinen öffentlichen Auftritten häufig als Ghetto-Legende, ausstaffiert mit einem riesigen Afro-Haarschnitt und einem Shit Joint im Mund. Diese Form der Selbstinszenierung ist jedoch Teil einer künstlerischen Strategie, mit der Ofili gezielt die Resonanz des Publikums und auch die Interpretation seiner Kunst aktiv beeinflussen und in eine bestimmte Richtung lenken will. Nicht nur in seinen Bildern tauchen vermehrt Stereotype über Schwarze auf. Besonders zu Anfang seines künstlerischen Werdegangs zelebriert Ofili geradezu genüsslich die Zurschaustellung von Klischees und setzt medienwirksam auch seine eigene Person und Kunst in Szene. Er artikuliert sein eigenes Menschenbild indem er vordefinierte Merkmale adaptiert und in seiner Kunst transformiert. Die Technik des Samplings wurde bei den Shit Sales evident, die Hammons zitieren, zieht sich aber als Konzept durch das Gesamtwerk Ofilis. Der Künstler sampelt Themen, Motive und Materialien wie beispielsweise Elefantendung, die aus den vielfältigsten und gegensätzlichsten Bereichen stammen, um einen Akt der Transformation zu erzeugen. Er löst das Material und die Motive seiner Werke aus ihrem ursprünglichen Zusammenhang und provoziert beim Betrachter durch ihre ungewöhnliche Zusammenstellung einen Effekt der Verfremdung im Brecht'schen Sinne. Brecht hat dieses Stilmittel im epischen Theater eingesetzt, um bekannte und gewohnte Sachverhalte in einem neuen Licht erscheinen zu lassen und somit gesellschaftliche und historische Widersprüche aufzudecken. Die Verfremdung fungiert dabei als didaktisches Prinzip, das den Rezipienten durch eine distanzierte Darstellung gegen Illusion und vorschnelle Identifikation sensibilisiert und Neuem vorarbeitet. Chris Ofili beschreibt den für den Rezipienten aus der Verfremdung resultierenden Zustand mit prägnanten Worten: „[Y]ou can't really ever feel comfortable with it.“ Mit Gegensätzen und Widersprüchen in seiner Materialwahl sowie Motivik stellt Ofili die Frage nach dem vermeintlichen Realitätsgehalt von Bildern sowie nach der Diskrepanz zwischen Bild und Abbild. Dabei setzt er die Strategie des Samplings als eine Form der Aneignung und Transformation kultureller Bestände in seiner Kunst und zur Darstellung seiner eigenen Person ein und funktionalisiert diese Technik subversiv zur Etablierung eines neuen (Menschen-)Bildes um. 1 „The general mythological construction of Chris Ofili's identity has been brought about by a colluding media and is based in large part on the widely reported anecdote which tells of his first trip to Africa and his discovery there of ele-phant dung. The artist joked once that the whole story had been made up, it would not matter greatly if it had been, Ofili had realised that the encapsulation of an artist in a quickly recountable tale can be instrumental in the promulgation of the artistic personality.” Zitiert nach: Worsdale, Godfrey: „The Stereo Type”, in: Corrin, Lisa G. / Snoody, Stephen / Worsdale, Godfrey (Hrsg.): Chris Ofili, Ausstellungskatalog Southampton City Art Gallery, The Serpentine Gallery London 1998, London: Lithosphere, 1998, S. 1. 2 Spinelli, Marcelo: „Chris Ofili“, in: Rothfuss, Joan / McLean, Kathleen / Fogle, Douglas (Hrsg.): Brilliant! New Art from London, Ausstellungskatalog Walker Art Center Minneapolis / Contemporary Arts Museum Houston 1995, Min-neapolis: Walker Art Center Publications, 1995, S. 67. 3 Ebd. 4 Morgan, Stuart: „The Elephant Man“, in: Frieze. International Art Magazine, März / April 1994, S. 43. 5 Spinelli, Marcelo: „Chris Ofili“, in: Rothfuss, Joan / McLean, Kathleen / Fogle, Douglas (Hrsg.): Brilliant! New Art from London, Ausstellungskatalog Walker Art Center Minneapolis: Walker Art Center Publications, 1995, S. 67.

Chris Ofili's The Upper Room was first displayed in 2002, to great critical acclaim. This installation, on show in the current exhibition, consists of thirteen works in a chapel-like environment designed by the award-winning architect David Adjaye.

Judith Nesbitt, Chief Curator at Tate Britain, shares her experience of curating the current Chris Ofili exhibition.

Tim Marlow joins a panel including Bonnie Greer, Leon Wainwright and Gayle Chong Kwan to discuss Chris Ofili and his work.