Podcast appearances and mentions of edgar arceneaux

Tomorrow is The Problem, kicks off its fifth season with a deep-dive into the groundbreaking work of conceptual artist, Charles Gaines. Over the course of his ongoing career, Gaines repeatedly revolutionized understanding of art: how it can be made, what makes it meaningful, and why art criticism consistently fails Black artists.  Host Dr. Donna Honarpisheh sits down with art historian and curator Ellen Tani, contemporary artist Edgar Arceneaux, and Charles Gaines himself to discuss Gaines' prolific work.  Tomorrow is the Problem is brought to you by the Knight Foundation Art + Research Center and is produced in partnership with FRQNCY Media.  Zapatista Orchestration recording courtesy of Charles Gains and the Hammer Museum.

A discussion with artist Edgar Arceneuax. Edgar works in the fields of drawing, sculpture, installation, performance, and video; often exploring connections between historical events and present-day truths, as well as the roles of family, memory and race. His work is thoughtful, personal and powerful and can be found in the collections of institutions like MoMA, the Whitney, the Hammer and LACMA.

Edgar Arceneaux is an artist-in-residence at UCLA's Center for the Art of Performance, where he is developing his work-in-progress "Boney Manilli," a live performance, exhibition, and single-channel film. On the latest episode of "Works In Progress," Arceneaux discusses his inspirations for the work, from 70's disco group Boney M. and 90's pop duo Milli Vanilli, to losing his mother to dementia. He also discusses his extensive research process, working on themes across an array of media, and seeking out artistic subjects that have “a level of unsettledness.” 

This emergency episode was made quickly during a time of uprising following the killing of George Floyd, Ahmaud Arbery, Breonna Taylor, Tony McDade, and countless other African Americans by police.We begin by hearing “Credo,” a prose poem first written by W.E.B. DuBois in 1904. The version we will hear was conceived and produced by Dr. John Michael Cooper. It is a compilation of 36 voices reading from DuBois' proclamation on his philosophy of racial equality. This is a digital method to embody and share the truth that Black Lives Matter now, that Black voices speak truth to power with their poetry and music, and that all Americans can be moved and changed through a justice-focused interlocking of art, education, activism, and pride. Dr. Cooper mixes diverse and impassioned voices recorded for this project over the summer of 2020.He intercuts music written for the Credo by African-American composer Margaret Bonds, allowing us to hear for ourselves the hardtruth #36: African American History is real.History feeds us in today’s struggles. This episode’s shared voicing of a call for justice also aligns with the project’s hardtruth, #98, that “peace can be the most powerful deterrent of all.”DuBois writes: “I believe that armies and navies are at bottom the tinsel and braggadocia of oppression and wrong; and I believe that the wicked conquest of weaker and darker nations by nations whiter and stronger but foreshadows the death of that strength.”Agree? Join us in the change!.........................This emergency episode was made quickly during a time of uprising following the killing of George Floyd, Ahmaud Arbery, Breonna Taylor, Tony McDade, and countless other African Americans by police. We begin by hearing “Credo,” a prose poem written by W.E.B. DuBois in 1904 in which he outlines his philosophy on racial equality. This version, a compilation of 36 diverse voices reading from DuBois’ proclamation, was conceived and produced in the summer of 2020 by Dr. John Michael Cooper. This is a digital method to embody and share the truth that Black Lives Matter now; that Black voices speak truth to power with poetry and music; and that all Americans can be moved and changed through a justice-focused interlocking of art, education, activism, and pride. Cooper intercuts two pieces of music: original music written in imitation of the setting of the “Credo” by African-American composer Margaret Bonds, along with African-American composer Florence Price's arrangement of the spiritual “Some of These Days.” This allow us to hear as score and prose the project’s HardTruth #36: “African American History is real.” History feeds us in today’s struggles. This episode’s shared voicing of a call for justice also aligns with HardTruth #98: “peace can be the most powerful deterrent of all.” DuBois writes: “I believe that armies and navies are at bottom the tinsel and braggadocia of oppression and wrong; and I believe that the wicked conquest of weaker and darker nations by nations whiter and stronger but foreshadows the death of that strength.” Agree? Join us in the change! (For more HardTruths about African American history and the long struggle for freedom, please also see: #40, challenge the narrative of (African) American progress about the art of Edgar Arceneaux, and #56, subversion through grinning; learn truths from radical black artists who lived through civil rights written by filmmaker Stephen Winter.).........................To learn more about DuBois, the Credo, Bonds, and Dr. Cooper’s work on these subjects, please visit his blog: https://cooperm55.wixsite.com/jmc3/post/testimony Read or respond to a poem or hardtruth found at the online primer of digital media literacy, #100hardtruths-#fakenews or fakenews-poetry.org. Organize your own Fake News Poetry Workshop.Reach out with questions or content @100hardtruths@gmail.com.Twitter: @100HardTruthsInstagram: #100HardTruthsYouTube: 100 Hard Truths#BlackLivesMatter See acast.com/privacy for privacy and opt-out information.

episode 30: Edgar Arceneaux In this episode I talk with Los Angeles-based artist Edgar Arceneaux about his recent projects Until, Until, Until and Library of Black Lies; Milli Vanilli and the Roots Christmas special; understanding black masculinity growing up as a geeky kid; and learning from moments of failure. Follow Edgar's work at studioedgararceneaux.com and on Instagram at @edgar_three.

Prepare your ear holes ready for some wiiiiiiild talk with Edgar Arceneaux. We talk sheep-shearing gas stations, making art in your own damn community, how Disney stole intellectual property from his grandfather, and more #HTAWW

LA Artist Edgar Arceneaux talks about his show "Until Until Until" at Yerba Buena Center for the Arts. For more information, visit ybca.org

LA Artist Edgar Arceneaux talks about his show "Until Until Until" at Yerba Buena Center for the Arts. For more information, visit ybca.org

Edgar Arceneaux is an LA-based contemporary artist and ArtCenter alumni who strives to find awe and mystery in life. His body of work has been seen exhibited and performed internationally, and it celebrates the asking of penetrating historical and cultural questions, leading to thought-provoking, perspective-altering experiences. Edgar’s most recent piece Until Until Until is a live performance centered around a reenactment of Ben Vereen’s tragically misunderstood blackface performance at Ronald Reagan’s 1981 inaugural gala. The history of this performance is fascinating, and Edgar’s piece probes into the events before and after. In this conversation, Edgar talks about his work, his knack for critical thinking, his upbringing, and how these all influence his development as an artist with striking wisdom and courage to experiment. Learn more about Edgar and his work at www.studioedgararceneaux.com

  This week we chase down the beauty of drawing, the perils of the 501c3, the question of economy and the base matter of humor, all with the brilliant Edgar Arceneaux. Duncan Mackenzie is joined Amanda Browder, Amy Mooney, and Abigail Satinsky live from inside a tent at Open Engagement 2014. Why did it take so long to post? Because it did.

In an election year driven by worldwide public demonstrations, congressional stagecraft and conflicting narratives, rhetoric, aesthetics and politics are apt to collide. As part of a 2012 national series, poet-performer Douglas Kearney and artist-activist Edgar Arceneaux of the Watts House Project discuss the political impetus and implications of their work.