Podcast appearances and mentions of Emory Douglas

Mint Gallery in Atlanta has closed its doors, suddenly and sloppily. How could this happen to such a well known, well used space? Studio Noize has recorded episodes there. Your boy JBarber had his thesis show there. There was a history and reputation to the gallery. Today we bring back Jasmine Nicole Williams, aka Jiggy Jas, back for an emergency episode of Studio Noize. We unload our thoughts on the closing of Mint and how poorly it was all handled. We discuss the precarious nature of being an artist and how devastating it can be to have your life and livelihood threatened by bad business. We talk about the changing landscape of arts funding, the need for community and the courage it takes to advocate for yourself and your fellow artists. Listen, subscribe, and share!Episode 191 topics include:the chaos of Mint Gallery closingnon-profit arts fundinghow poor leadership effects working artistsbeing transparentthe dream of having a studiowhat creates culturewhat comes from the chaosJasmine Nicole Williams is a Black American visual artist and organizer from Atlanta, GA. She earned her Bachelor of Fine Art in Printmaking from the University of West Georgia in 2017. Her work explores her southern, black, and femme identities through printmaking and murals to inspire people to dive deeper into their humanity.Influenced by the work of artists like Elizabeth Catlett and Emory Douglas, Jasmine believes in the transformative power of portraiture, print, and public art. She understands the role of art and the need for that art to be accessible to the people as a tool to advance the working-class struggle. With a deep interest in craft and process, Jasmine makes dignified work that reflects and relates to everyday people and injects them with a spirit of optimism toward the future.Since receiving her BFA, Jasmine's work has been showcased at Prizm Art Fair, Perez Museum Miami, ZuCot Gallery, Eyedrum, MINT Gallery, and Echo Contemporary. She has received residencies from Hambidge and Midtown Alliance. She was awarded grants from RedBull, Sprite, WISH ATL, and Dream Warriors Foundation and fellowships from Southern Graphics Council International and TILA Studios. She has worked with [adult swim] and Nike. Currently, Jasmine is the 2023 recipient of the Living Walls Abroad Fellowship. Jasmine continues her practice in Atlanta, GA.See more: Rough Draft Atlanta: MINT Gallery abruptly closes its doors at MET Atlanta + AJC: Mint gallery closed suddenly, leaving artists scrambling and unhappy + Jasmine Williams website + Jasmine Williams IG @jn.ooomamiFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Today, we embark on a profound journey with the iconic Emory Douglas. As the former Minister of Culture for the Black Panther Party, Emory's art ignited a revolution. Today, we ask you to reorient your ears… this is history. There's an old African proverb that states when a person transitions, a library burns to the ground. Well, today's conversation with Emory Douglass is a living archive revealing itself. It's what we here at the Institute call Archival Intelligence. Take notes. Research the names. Refer back. Today's conversation is a retelling of artmaking in revolutionary times, and what it means to create new identities within a community. Join us in this safe space as Emory candidly shares tales of rebellion, societal exchanges, and the intricate web of connections in his formative years. This episode is not just an interview; it's a voyage through the corridors of time, shedding light on the profound interplay of art, activism, and the Black experience. And to hear another side of this story, be sure to check out episode 26 with Elaine Browne, the only woman to serve as Chair of the Black Panther party. Connect with us on Twitter and Instagram @blackimagination, subscribe to our newsletter for updates, and support the show by clicking this support link. Visit our YouTube channel, 'The Institute of Black Imagination,' and explore more content on blackimagination.com.And now, join us as Emory Douglas navigates through the intersections of art, activism, and the enduring quest for justice. Key LinksThe Black Panther Party- African American revolutionary partyBobby Seale - African American political activist and co-founder and national chairman of the Black Panther Party.Huey P. Newton- African American revolutionary and political activist and co-founder of ‘The Black Panther Party Zapatista National Liberation Army - A group of mostly indigenous activists from the southern Mexican state of ChiapasThe Black Arts Movement (1965-1975) - Black nationalism movement that focused on music, literature, drama, and the visual arts made up of Black artists and intellectuals.Eldridge Cleaver- member of The Black Panther Party, he served as the first Minister of Information.Dr. Betty Shabazz - an American educator and civil rights activist, wife of Malcolm XCharles W. White - African American painter, printmaker, and teacherWhat to Read

Hear from the revolutionary artist about his iconic designs for the Black Panther newspaper. Emory Douglas has a battle cry: “Culture is a weapon.” And this chant reverberates throughout everything he does. In 1967, Douglas was chosen as the minister of culture and revolutionary artist for the Black Panther Party, where he designed the layouts and iconic imagery for the Black Panther newspaper. For this month's Ten Minutes podcast, Douglas shares his path toward arts activism and the power of art to “penetrate the souls of the resistance via the resistors (We The People) against all forms of cruel and unjust authority.” Access a transcript of the conversation here: https://www.moma.org/magazine/articles/939

Revision Path is all about inspiring Black designers, and my conversation with Ashley Fletcher is a brilliant example of why that inspiration matters. Ashley drops some serious knowledge on finding your creative community, pushing boundaries, but also the importance of taking care of your well-being.Ashley talked about her current work, including her business Goods Made By Digitrillnana, and she shared how her educational journey helped her growth in understanding design. We also talked shop on a few topics, including the role of design organizations in 2023, AI and intellectual property, and more.Ashley's story will leave you feeling inspired and ready to take your design career to new heights!LinksAshley Fletcher's WebsiteAshley Fletcher on InstagramAshley Fletcher on TikTokAshley Fletcher on TwitterGoods Made By DigitrillnanaFor a full transcript of this interview, visit revisionpath.com.==========Donate to Revision PathFor 10 years, Revision Path has been dedicated to showcasing Black designers and creatives from all over the world. In order to keep bringing you the content that you love, we need your support now more than ever.Click or tap here to make either a one-time or monthly donation to help keep Revision Path running strong.Thank you for your support!==========Follow and SubscribeLike this episode? Then subscribe to us on Apple Podcasts, Spotify, or wherever you find your favorite shows. Follow us, and leave us a 5-star rating and a review!You can also follow Revision Path on Instagram and Twitter.==========CreditsRevision Path is brought to you by Lunch, a multidisciplinary creative studio in Atlanta, GA.Executive Producer and Host: Maurice CherryEditor and Audio Engineer: RJ BasilioIntro Voiceover: Music Man DreIntro and Outro Music: Yellow SpeakerTranscripts are provided courtesy of Brevity and Wit.☎️ Call ‪626-603-0310 and leave us a message with your comments on this episode!Thank you for listening!==========Sponsored by Brevity & WitBrevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world. They are always looking to expand their roster of freelance design consultants in the U.S., particularly brand strategists, copywriters, graphic designers and Web developers.If you know how to deliver excellent creative work reliably, and enjoy the autonomy of a virtual-based, freelance life (with no non-competes), check them out at brevityandwit.com.Brevity & Wit — creative excellence without the grind.

In this episode of Locust Radio, Tish, Laura, and Adam discuss the theme of, and editorial for, Locust Review #10, “The Monsters Are Coming,” the social construction of the monstrous, the idea of “solidarity with monsters,” differentiating between “their” monsters and “ours,” and how every accusation from the far-right is an admission of guilt.  We also touch on the obliviousness of the British ruling-class and its recent “coronation” spectacle, and the looming midnight of the 21st century.  In this episode, we also listen to music from Melissa Carper, Omnia Sol, and Kid Pixie. Please go to their bandcamps and buy their music!  Adam also interviews Nick Shillingford from the Socialist News and Views podcast, and Luke Herron-Titus from Southern Illinois Democratic Socialists of America, for the third Irrealist Worker's Survey (IWS). In the IWS interviews we discuss solidarity with AI, self-determination for Frankenstein's monsters, working-class sabotage, conspiracy theory robots designed by Oxford University “scientists,” being liminal spaces, and more. Artists, authors, books, articles, and artworks discussed in this episode include:  B. R. Ambedkar, The Annihilation of Caste (1936); William Blake, “Jerusalem” (1808); Kelly Budruweit, “Twilight's Heteronormative Reversal of the Monstros: Utopia and the Gothic Design,” Journal of the Fantastic in the Arts , 2016, Vol. 27, No. 2 (96) (2016), pp. 270- 289; Jeffrey Cohen, Monster Theory: Reading Culture (University of Minnesota Press, 1996); Emory Douglas (visual artist, member of the historic Black Panther Party for Self-Defense); Silvia Federici, Caliban and the Witch (Autonomedia, 2004); Brian P. Levack, “The Horrors of Witchcraft and Demonic Possession,” Social Research, Vol. 81, No. 4, Horrors (Winter 2014), pp. 921-939; Dave McNally, Monsters of the Market: Zombies, Vampires and Global Capitalism (Haymarket, 2011); China Miéville (author); Anupam Roy (visual artist); Mary Shelley, Frankenstein (1818); Susan Stryker, “My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage” (Gordon and Breach Science Publishers SA, 1994); Enzo Traverso, Left Melancholia: Marxism, History and Memory (2016); Tish Turl and Adam Turl, Stink Ape Resurrection Primer (serialized in Locust Review #4 onwards, 2021-present); HG Wells, The Island of Dr. Moreau (1896); HG Wells, The War of the Worlds (1895-1897); and more… Locust Radio is hosted by Tish Turl, Laura Fair-Schulz, and Adam Turl. It is produced by Omnia Sol and Alexander Billet.

Bryan Robinson is an educator and multifaceted media artist born, raised and superhero'd in Baltimore, Maryland. He has a background in film, 2D animation and Business Marketing.  Robinson has been a visual artist for as long as he could successfully write his own name. He feels the blank canvas is just another portal to which his stories can be told.  Robinson is a self taught artist who operates in "The Random". He compares his work to a mixture of the Mona Lisa and the morning cartoons of the 80's. Robinson is inspired from the works of artist like Emory Douglas, Jean Michel Basquiat, and Keith Haring. Under the motto "Create Everyday", Robinson has over 200 original illustrations (acrylic/oil based paintings), a collection of wearable Garments based off of his unique characters and an assortment of animated projects in the works. Robinson currently works with school based programs, universities, youth groups, galleries, art initiatives and community based organizations throughout the states to further The Black Genius Art Show.  In 2021, Robinson opened his first art showroom he labels Genius Guice Studios.  GG is a hybrid gallery space that displays revolving art spreads, custom collectables, wearables and art incentives for youth and young adults. The existence stems from a connection with People, while the energy, the features and culture are reflected upon an array of artistic mediums.  Each of Robinson's creations set a simple yet bold appeal to each illustration. The use of BLACK lines mold the narrative of each individual canvas, and the GENIUS of it all is to understand that ART LIVES not just on a gallery wall but it exists in all we do. TBGAS is an experience, it is an exchange, and created for anyone and everyone. The Truth in This Art podcast's current season is sponsored by The Gutierrez Memorial Fund and The Robert W. Deutsch Foundation, both of which are dedicated to enhancing the quality of life in Baltimore and beyond. The Gutierrez Memorial Fund focuses on supporting artists and art organizations that serve Maryland communities, while The Robert W. Deutsch Foundation invests in innovative individuals, projects, and ideas. We appreciate their support in making this season happen. ★ Support this podcast ★

Bryan Robinson is an educator and multifaceted media artist born, raised and superhero'd in Baltimore, Maryland. He has a background in film, 2D animation and Business Marketing.  Robinson has been a visual artist for as long as he could successfully write his own name. He feels the blank canvas is just another portal to which his stories can be told.  Robinson is a self taught artist who operates in "The Random". He compares his work to a mixture of the Mona Lisa and the morning cartoons of the 80's. Robinson is inspired from the works of artist like Emory Douglas, Jean Michel Basquiat, and Keith Haring. Under the motto "Create Everyday", Robinson has over 200 original illustrations (acrylic/oil based paintings), a collection of wearable Garments based off of his unique characters and an assortment of animated projects in the works. Robinson currently works with school based programs, universities, youth groups, galleries, art initiatives and community based organizations throughout the states to further The Black Genius Art Show.  In 2021, Robinson opened his first art showroom he labels Genius Guice Studios.  GG is a hybrid gallery space that displays revolving art spreads, custom collectables, wearables and art incentives for youth and young adults. The existence stems from a connection with People, while the energy, the features and culture are reflected upon an array of artistic mediums.  Each of Robinson's creations set a simple yet bold appeal to each illustration. The use of BLACK lines mold the narrative of each individual canvas, and the GENIUS of it all is to understand that ART LIVES not just on a gallery wall but it exists in all we do. TBGAS is an experience, it is an exchange, and created for anyone and everyone. The Truth in This Art podcast's current season is sponsored by The Gutierrez Memorial Fund and The Robert W. Deutsch Foundation, both of which are dedicated to enhancing the quality of life in Baltimore and beyond. The Gutierrez Memorial Fund focuses on supporting artists and art organizations that serve Maryland communities, while The Robert W. Deutsch Foundation invests in innovative individuals, projects, and ideas. We appreciate their support in making this season happen. ★ Support this podcast ★

Designer Terresa Moses is talking about a massive black-and-white graphic she painted directly on a gallery wall at Augsburg University. On a freezing February night, she tells the audience, there for an artist talk, that she was trying to take up space.  From floor to ceiling, bold lettering that says “Occupy Space with Glory” nestles against the silhouette of a nude Black woman gazing over her shoulder.  “I was really trying to think about, if liberation were to happen, I would imagine it being a place where we could just take up space,” said Moses, who is an assistant professor of graphic design at the University of Minnesota. She tells the audience that the typography may look familiar to anyone who's attended a protest in Minneapolis in the past few years, as it's shown up across the city on protest signs that say, “I Can't Breathe” or “Show Up for Black Women.” “I feel like I can drive down and see that type represented,” Moses said, “and let people know that a Black woman created that.” Moses is one of nine local Black women and femme designers in the exhibition “To Illuminate Abundance” at Augsburg's Gage and Christensen galleries through March 24. Here, the curators say, “femme” refers to a person whose gender expression is considered feminine. Co-curators and participating artists Olivia House and Silent Fox have been planning this show for more than a year. It is a production of their 13.4 Collective, led and made up by Black artists and designers. They say the number, 13.4, comes from a recent study that found that Black people make up 13.4 percent of the U.S. population.  “It was basically to amplify voices of the Black community and be able to share and reach an audience for the Black community that they normally don't have access to, or aren't aware of, the opportunities because they're not handed to them,” Fox says. With “To Illuminate Abundance,” the design partners wanted to collectively imagine a sort of Afrofuturist space where Black women and femmes can celebrate a life beyond surviving and depictions of trauma. Afrofuturism, generally, is a movement and aesthetic that uses science fiction, fantasy and history to reimagine the past and present of the Black diaspora, and explore the possibilities of different futures. “We thought it was important to feature this joy and light after the past few years of what Minneapolis has experienced, and black women in particular have had to carry in those few years,” says House, who is from Minneapolis but is now based in Chicago. Augsburg's gallery and exhibition coordinator Jenny Wheatley call it a revolutionary act of community. “'To Illuminate Abundance' is an important show because it bears witness to a collaboration of joyous art making,” Wheatley explains. “The show is a celebration of power and healing, of bodies and heritage, of playfulness and sincerity. This show is important because it grounds us in our full humanity, and the possibilities of the future.” Along with Moses, House and Fox, designers Ashley Koudou, Kelsi Sharp, Leeya Rose Jackson, Marcia Rowe, Olivia Anizor and Sabrina Peitz created everything from digitally designed photographic memory quilts and murals inspired by playlists curated for healing to a tufted carpet installation celebrating curly hair. The two galleries overflow with colors and patterns at a large scale.  “I really expected it to be like a majority poster show, you know, just like thinking what a typical designer would do,” says House, explaining that designers usually have to create for a client, who is not typically themselves. “But each of the artists kind of started asking me individually, do you mind if I explore something else?” Fox and House prompted the group to create an artwork to illuminate a meaningful text or quote. Jackson, for one, chose an excerpt from science fiction author Octavia Butler: “Change is the one unavoidable, irresistible, ongoing reality of the universe,” painted across layered pieces of wood in a cosmic installation.  On a salvaged lightbox sign, Sharp painted the monster's words from Mary Shelley's “Frankenstein”: “Beware; for I am fearless, and therefore powerful.” Moses chose to create her own quote, “Occupy Space with Glory,” to take up more space, she says. There is another reason, House says, for an art exhibition featuring graphic designers. It is part of her ongoing research project, “Where Are All the Black Designers?”, which she started as an undergraduate at Augsburg a few years go. She was a graphic design student at the time and says that she couldn't name one Black graphic designer. “When I was doing some research on the history of Black graphic designers, one thing that I found was it was very rarely that designers, in general, were credited for things. And I was looking specifically at Black designers, and they were almost never credited,” House said at the artist talk. “So, I just imagine Black women and femmes are right down there, and just not going to get the credit that we deserve in those spaces. That research project culminated in a 2018 Augsburg exhibition featuring nine Black graphic designers from the 20th century, including Emory Douglas, the Minister of Culture for the Black Panthers, and Dorothy Hayes, who House says was a mentor to the next generation of designers. That exhibition also traveled to First Avenue and the Minneapolis College of Art and Design.  House says her mentor during college, associate professor of graphic design Christopher Houltberg, even adapted the curriculum with some of her research findings. Now, House says, she can add the designers of “To Illuminate Abundance” to that canon of graphic design. To close the artist talk, House told her fellow designers: “I've fan-girled over all of you. I followed you on Instagram for years. And so, for you all to be up here, sitting beside me, is just incredible.” She added, “I'm just going to keep making these spaces for us.” There will be guided tours of “To Illuminate Abundance” on Sunday afternoons through March 24, as well as on the evenings of Feb. 23 and March 23. 

Our guest is designer, artist, and community organizer Lashun Tines. Chicago-born, Lashun has been working in design for nearly two decades. Since then, he's worked at VSA Partners, Leo Burnett, Razorfish, and currently, he's a Design Director at Wieden + Kennedy. Between 2014–2018, he was the Diversity Lead for AIGA Chicago. His notable work as founder of the project the Art of Blackness has paved the way for African American graphic designers to obtain familiarity and exposure to the creative field through representation and inspiration by celebrating and highlighting African American creatives working today. In this episode, Lashun speaks with host Christian Solorzano about growing up in Chicago, high school, the power of finding your “creative tribe,” Emory Douglas, diversity and inclusion, leadership, mentorship, and more. Music by the band Eighties Slang.

Enter the art installation of provocation, decolonisation and truth. Admission? Beyond the bare minimum. Abolish the date with YOU CAN GO NOW this week.Non Indigenous Australians need to do the work but also here are resources mentioned to get involved beyond tweeting and signing petitions:https://paytherent.net.au/https://www.reconciliation.org.au/https://supplynation.org.au/First Nation organisations to donate to:https://www.mentalhealthformob.org/https://www.magabala.com/https://www.commonground.org.au/https://indigenousx.com.au/https://ourislandsourhome.com.au/https://dhadjowa.com.au/https://awesomeblack.org/Website | Rotten Tomatoes | Apple | Patreon | Twitter | Instagram

Today's conversation is with food enthusiast, storyteller, and creative strategist Jon Gray. Jon is the co-founder and self-proclaimed dishwasher of Ghetto Gastro— a collective that uses food as a medium to ignite conversations about race, inequity, and inclusivity. Jon's love affair with the Bronx, usage of mixed media, and desire to build new narratives that empower black and brown people, teaches us the importance of having pride in your roots and staying true to yourself.  In today's conversation, we're reminded of the importance of staying true to ourselves. We explore themes such as the value of fostering deep connections, the importance of perseverance, and we journey into why trusting your instincts can be your greatest tool.  What to read Pre-order https://ghettogastro.com/pages/black-power-kitchen (Black Power Kitchen - Ghetto Gastro) by Jon Gray, Pierre Serrano, Lester Walker (Drops 10.18.22) https://bookshop.org/books/my-grandmother-s-hands-racialized-trauma-and-the-pathway-to-mending-our-hearts-and-bodies-9781942094470/9781942094470 (My Grandmother's Hands: Racialized Trauma and the Pathway to Mending Our Hearts and Bodies) by Resmaa Menakem  https://bookshop.org/books/the-rise-black-cooks-and-the-soul-of-american-food-a-cookbook/9780316480680 (The Rise: Black Cooks and the Soul of American Food: A Cookbook) by Marcus Samuelsson,  Yewande Komolafe, Osayi Endolyn People mentioned https://studiomuseum.org/thelma-golden-director-and-chief-curator (Thelma Golden) - Director and Chief Curator of The Studio Museum in Harlem Curator, critic & author https://cargocollective.com/museummammy (Kimberly Drew)  Graphic Artist https://www.moma.org/artists/70943 (Emory Douglas)  Artist https://www.jamelrobinson.com/ (Jamel Robinson)  Co-Founder of ArtNoir & President of Saint Heron https://www.instagram.com/queencc/?hl=en (Carolyn Concepcion) https://camh.org/event/in-conversation-amoako-boafo-and-larry-ossei-mensah/ (Larry Ossei-Mensah) Curator & Co-founder of https://www.instagram.com/artnoirco/?hl=en (@artnoirco) Artist http://www.derrickadams.com/ (Derrick Adams)  https://www.sheamoisture.com/ca/en/narratively-longroad.html (Richelieu Dennis) - Founder & CEO of Sundial Brands, maker of SheaMoisture Learn more about Jon Gray Check out Ghetto Gastro's appliance collection https://cruxgg.com/ (CRUXGG)  https://www.cooperhewitt.org/channel/jon-gray-of-ghetto-gastro-selects/ (Jon Gray's) of Ghetto Gastro, Cooper Hewitt Installation Watch Jon Gray's https://www.youtube.com/watch?v=5cWkKwGUt3g ((Ghetto Gasto) TedTalk) What to listen to https://open.spotify.com/track/1sYRkVKdT2ize1HSDCwbEF (Say It Loud - I'm Black And I'm Proud) by James Brown https://open.spotify.com/track/6HZILIRieu8S0iqY8kIKhj (DNA.) by Kendrick Lamar https://open.spotify.com/track/48EjSdYh8wz2gBxxqzrsLe?autoplay=true&v=T (Cranes in the Sky) by Solange Who to follow Find him on https://www.instagram.com/ghettogray/ (IG) To learn more about his work, visit GhettoGastro.com  This conversation was recorded on July 30th, 2022.  Host https://www.instagram.com/dario.studio/ (Dario Calmese)  Producer: https://www.instagram.com/holly_woodco/ (Coniqua Johnson)  Visual Art Direction and Designs:  http://riverwildmen.com (River Wildmen), https://www.instagram.com/afrovisualism/ (Justin Smith), Adam Selah Director of Digital Content: https://www.instagram.com/vickygcreative/ (Vicky Garcia) Bookings: http://@itsms.kt (K.T. Thompson) Audio Engineer + Composer: https://www.instagram.com/adamradice/ (Adam Radice) Original music composed by https://www.instagram.com/adamradice/ (Adam Radice) 

Y'all! We are so excited and honored to have the opportunity to talk with Silas Munro (of Polymode) about the amazing exhibition, "Strikethrough", he co-curated at the Letterform Archive. Strikethrough features over 100 objects (including broadsides, buttons, signs, t-shirts, posters, and ephemera) by ACT UP, Amos Kennedy, Jr., Sister Corita Kent, Emory Douglas, Favianna Rodriguez, Guerrilla Girls, Jenny Holzer, W. E. B. Du Bois, and many many more. Make sure to check out the show, get in on the rad special events they're doing, check out the custom site by Chris Hamamoto, Jon Sueda, and Minkyoung Kim—and pick up the amazing book!—if you can. Thank you to Silas Munro and to Stephen Coles from Letterform Archive for being open to having this conversation! A few links to resources around protest and design (via Silas): Schomberg Center for Research in Black Culture: https://www.nypl.org/locations/schomburg One Archives at the USC Libraries: https://one.usc.edu/ Lohman Center (NY): https://www.leslielohman.org/archive National Museum of African American History & Culture (Smithsonian/DC): https://www.si.edu/museums/african-american-museum Research / writings of Colette Gaiter: https://walkerart.org/magazine/authors/colette-gaiter (profile from the Walker) Center for the Study of the Political Graphics: https://www.politicalgraphics.org/

The last IYKMM episode of the school year is here! This time around, our 3rd grade podcast club is sharing an intimate look into their spring Black Panther Party study, including student interviews with community leaders Ericka Huggins, Emory Douglas, Blanche Richardson and Sita Kuratomi Bhaumik, student and teacher reflections and a whole lot of rich Oakland history! This episode features 29 different voices - hear what they have to say! 9:45 / 10 Point Program + Oakland Community School with Ericka Huggins 22:28 / Lasting Panther Legacy with Blanche Richardson (Marcus Books) and Sita Kuratomi Bhaumik (People's Kitchen Collective) 37:10 / Activist Art and Message Music with Emory Douglas

Los martes y jueves del mes tenemos recorridos guiados por la exposición ¡Todo el poder para el pueblo! Emory Douglas y las Panteras Negras El movimiento político de las Panteras Negras se destaca por su apuesta gráfica y estética. Desde la cuidada puesta en escena de su apariencia, como los peinados afros, chaquetas de cuero, boinas y ropa negra y la potente propaganda impresa, se evidencia una particular mirada concienzuda e intuitiva. Te invitamos a este recorrido guiado por la exposición. La muestra gráfica incluye 24 retablos con una selección de e imágenes de la primera época del partido, en la que se destacan provocativas imágenes de la revolución armada y las figuras caricaturizadas del opresor, concebidas para empoderar a la comunidad afroamericana. Trabajos posteriores muestran representaciones de carácter humanista, incentivando el orgullo de la comunidad para promover su desarrollo económico y divulgar los programas sociales del partido. También se exhibirán los afiches realizados en litografía con motivos similares a las carátulas o páginas centrales del semanario, que se vendían entre la comunidad para financiar las causas del movimiento.

Kemetologist Tony Browder will reflect on his 35-year relationship with WOL, talk about the WOL Cultural Circles and more! Before we hear from brother Tony, Emory Douglas the Minister of Culture for the Black Panther Party joins the show. See omnystudio.com/listener for privacy information.

In this episode Tish and Adam talk to the poet Richard Hamilton about his new book, Rest of Us (Recenter Press, 2021). Richard Hamilton shares a number of his poems. We also discuss, among other things, the relationship of the social and the subjective, absurdist aesthetic strategies, the afterlife of slavery, remixing time, the “MFA industry” and the Kenneth Goldsmith controversy, what it means to write or make art for the working-class and oppressed, the relationship of visual art to poetry, and the discordant will of the revolutionary subject. Poems read and discussed include Hamilton's “Alabama Inmate Notes,” “Revolting Shadows,” “Black and White (Ode to the Haitian Revolution),” “In Four,” “Palimpsest: Black Out” and “White Narratives.” We also touch on AfroSurrealism, Amiri Baraka's “The Politics of Rich Painters” (1963), Federico Garcia Lorca's “Sleepwalking Ballad,” Aimé Césaire's Discourses on Colonialism (1950), and the work of the artists Ronald Williams and Emory Douglas, among more. Locust Radio is hosted by Tish Turl and Adam Turl. Locust Radio is produced by Drew Franzblau. Music is by Omnia Sol.

Alexa Smith gives presentations to high school students on how to speak up against antisemitism on college campuses inspired by her own antisemitic experiences at the University of Michigan and her efforts to speak up there. Contact Alexa Smith at alsmich@umich.edu From Alexa Smith as background information for the discussion of this podcast: The title of the mandatory talk was PENNY STAMPS SPEAKER SERIES: Emory Douglas: Designing Justice -- see https://stamps.umich.edu/events/emory-douglas In October of 2018, my senior year at University of Michigan, I was forced to sit through an overtly antisemitic lecture as part of the Penny Stamps Speaker Series, which is a required course for all art students at the University of Michigan. The lecturer, Emory Douglas, projected an image of Adolf Hitler and the Prime Minister of Israel together with the caption “Guilty of Genocide” across their foreheads. In what world is it okay for a mandatory course to host a speaker who compares Adolf Hitler to the Prime Minister of Israel? As a Wolverine, I sat through this lecture horrified at the hatred and intolerance being spewed on our campus. As a Jew who is proud of my people and my homeland, I sat through this lecture feeling targeted and smeared to be as evil as the man who perpetuated the Holocaust and systematically murdered six million Jews. This experience was not unique. Two years prior I was forced to sit through another mandatory Stamps lecture in which the speaker, Joe Sacco, made references to Israel being a terrorist state and explicitly claimed that Israeli soldiers were unworthy of being represented as actual human beings in his artwork. This time in 2018 I decided I would no longer sit quietly and allow others to dehumanize my people and my community. I credit my brother Dan Smith with his tremendous help and guidance in my calling for actionable change from the university. I simply could not have done anything that I did without him. Unfortunately, three years later and the University of Michigan administration is repeatedly failing to forcefully respond to antisemitism, and so it comes back worse and worse each time. A line needs to be drawn and it needs to be drawn now.

Our final episode in the "Reimagining Utopia" series focuses on "Utopia In Performance" and includes conversations with artists who are creating works that give us hope and imagine a better, more equitable society.Damon Locks is an artist,  musician and educator as well as the founder and leader of Black Monument Ensemble, a vibrant collective of artists, musicians, singers and dancers, making work with common goals of joy,  compassion and intention.  The contributors come from all facets of the diverse well-spring of Black Excellence in Chicago and are a multi-generational group ranging in age from 9-52 years old at this recording. In addition to Locks, current and consistent BME members include: instrumentalists Angel Bat Dawid, Ben LaMar Gay, Dana Hall, and Arif Smith; singers Phillip Armstrong, Monique Golding, Rayna Golding, Tramaine Parker, Richie Parks, Erica Rene, and Eric Tre'von; and dancers Raven Lewis, Cheyenne Spencer, Mary Thomas, Bryonna Young, Tiarra Young, and Keisha Janae.Locks has a stated interest in work that explores “The Black Nod” which, as he explains, is “an unspoken acknowledgment that happens often out in the world – a sort of ‘I see you' moment exchanged between Black people.” His work with BME attempts to do the same. Fronted by a jubilant choir, the ensemble embraces a kind of civically engaged, artistic approach to activism originally heard in the 1960s from bands like the Voices of East Harlem and on albums like Max Roach's We Insist; or originally seen in the photography of Kwame Brathwaite and the art of Emory Douglas. Merging influence from the subsequent half-century of artistic & technological evolution, Locks employs a cyber-punk palette of disparate implements (including beatbox, boombox, telephone, and megaphone) to make narrative compositions of mined sound, beats & archival speech (a la Madlib or Supa K) which are brought to life by the ensemble in electric, improvisational performance. It's a truly multi-dimensional sound that spans mediums, genres, and generations; past, present, & future.Founded in 2014, Propelled Animals is a group of artists, dancers, scholars, musicians, and designers who embed innovative and provocative art in unconventional spaces. They are committed to creating work that interrogates, challenges, and ultimately attempts to dismantle the systemic "isms" of oppression. They adapt their projects and processes to address the specific needs of the communities they engage. Our performances encourage efficacy of the body, resilience, and radical tenderness as strategies for self-empowerment. Their work is centered on art as social action and ritual as performance.The Propelled Animals have presented work nationally including six site-specific performances at institutions including: University of Iowa and Englert Theatre (Iowa City, IA); University of Northern Iowa (Cedar Falls, IA); Wassaic Project (Wassaic, NY); Grinnell College (Grinnell, IA); Lynden Sculpture Garden (Milwaukee, WI). In 2019 they were artists-in-residence at Lynden Sculpture Garden and the STUDIO for Creative Inquiry at Carnegie Mellon University. This episode Includes the song "Now (Forever Momentary Space)" by Black Monument Ensemble with the following artists:Players:Angel Bat Dawid – clarinetBen LaMar Gay – cornet & melodicaDana Hall – drumsDamon Locks – samples & electronicsArif Smith – percussionSingers:Phillip ArmstrongMonique GoldingTramaine ParkerRichie ParksErica ReneEric Tre'vonLyrics & Compositions by: Damon Locks. Recorded August 27th-28th and September 29th, 2020, at Experimental Sound Studio, Chicago. Engineered & Mixed by: Alex Inglizian. Mastered by: David Allen.The episode also includes an audio excerpt of Propelled Animals collaborator Boubacar Djiga playing the tama – which was used in their piece STATE(D) part of the 2021 Pivot Arts Festival performance tour. 

They say that life imitates art. That's rarely as true when we consider the transformative, evocative, challenging, and inspirational work Black artists have been creating for decades. From Clementine Hunter to Emory Douglas to Kara Walker, Black artists have influenced society by changing opinions, instilling values, and translating experiences across space and time. Art is a language that expresses who we are, connects us to ancestors, and speaks to our strength and humanity. It rouses us to action and it has the ability to liberate us from the present into a more just future. In this episode, we speak with Rosalind McGary, an artist and founder of SEPIA Collective, an artist-run organization whose mission is to engage artists, build community, and empower youth. BHY is produced by PushBlack, the nation's largest non-profit Black media company - hit us up at BlackHistoryYear.com and share this with your people! PushBlack exists because we saw we had to take this into our own hands. You make PushBlack happen with your contributions at https://BlackHistoryYear.com​. Most people do 5 or 10 bucks a month, but everything makes a difference. Thanks for supporting the work. The Black History Year production team includes Tareq Alani, Abeni Jones, Patrick Sanders, Tasha Taylor, William Anderson, Jareyah Bradley, Brooke Brown, Shonda Buchanan, Briona Lamback, Akua Tay, Leslie Taylor-Grover, and Darren Wallace. Our producers are Cydney Smith and Ivana Tucker, who also edits the podcast. Black History Year’s Executive Producer is Julian Walker. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Deuxième partie de notre épisode sur le Black Panther Party. Comme vous l'entendrez, les idées et actions de ce parti révolutionnaire lui ont valu la guerre totale des Etats-Unis. Et jusqu'à aujourd'hui puisque Mumia Abu-Jamal risque actuellement de mourir en prison tandis qu'une récompense de 2 millions de dollars est offerte pour la capture d'Assata Shakur. Références :Musique: Revolutionary warfare, Nas; Can you see the pride in the panther, Tupac feat Mos DefPodcasts: "Assata: une autobiographie" par Apres La Première page; "Emory Douglas, l'artiste combattant du Black Panther Party" par Cases Rebelles; "The murder of George Jackson" par The freedom archives, "The Attica rebellion" par The freedom archives; Parler d'Assata Shakur avec Cases Rebelles par La revanche des ZherissonsLivres:Black Panthers (photos), Stephen Shames, éditions La Martiniere, 2006We want freedom, une vie dans le parti des Black Panthers, Mumia Abu-Jamal, Le temps des cerises, 2006All power to the people, textes et discours des Black Panthers, Philip S. Foner, éditions Syllepse, 2016 (première édition anglaise 1970)Assata: une autobiographie, Assata Shakur, éditions Premiers Matins de Novembre, 2018 (première publication en anglais en 1988)Films:Judas and the black messiah, Shaka King, 2021Black Panthers: vanguard of the revolution, Stanley Nelson, 2015. VF disponible sur Arte en streaming gratuit jusqu'en octobre 2021The Black Power Mixtape 1967-1975, Göran Olsson, 2011. VO en streaming gratuit disponible (anglais) et VOST en français ici.Black Panthers, Agnes Varda, 1968Travail du collectif Cases Rebelles (que nous remercions): Entretien avec Emory Douglas (2014), Lowndes County Freedom Party: a l'origine de la panthère (2016), Une conversation entre Ericka Huggins et Yuri Kochiyama (traduction 2017, interview 2009), San Francisco 504: a l'intersection des luttes handies et noires (2014), George Jackson et Les Frères de Soledad (2014), Une brève histoire des Polynesian Panthers (2015), Mon enfance dans le Black Panther Party (2016) Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Emory Douglas, Mary Hooks, Yoel Haile, and Diane Fujino discuss the enduring impact, and multiple meanings, of the Black Panther Party in the context of the movement for Black lives, allowing today's organizers and readers to situate themselves in the long lineage of the Black Radical Tradition. Today's Movement for Black Lives is building a radically transformative struggle that demands structural change and places Black liberation at its center. Fifty years ago, the Black Power movement asserted similarly bold demands and audacious actions. Then and today, we bear witness to and seek to intervene in such critical moments when radical ideas seem to suddenly take hold and unprecedented opportunities emerge for far-reaching change. The Black Panther Party (BPP)'s struggles against police violence and efforts to create a liberatory society are particularly relevant to today's struggles. Black Power Afterlives: The Enduring Significance of the Black Panther Party, edited by Diane C. Fujino and Matef Harmachis, offers the first extended examination of the BPP role in shaping the practices and ideas that have animated grassroots activism in the decades since its decline. The broadcast will include "Mother Earth Mantra” and “Police Chase” from Contested Homes: Migrant Liberation Movement Suite 2020, a free jazz opera that combines jazz, hip-hop, spoken word, dance and visual art. Performed by Afro Yaqui Music Collective in conjunction with members of University of Wisconsin, Madison's "Artivism" class, composed by Maggie Cousin and Black Power Afterlives contributor Ben Barson, lyrics and vocals by former Black Panther Party member Mama C (Charlotte O'Neal) and by Nejma Nefertiti. Video by Adam Cooper-Téran. ——————— Speakers: Emory Douglas is the former Minister of Culture of the Black Panther Party and was a Black Panther Party member from 1967 until the early 1980s. His artworks are the most renowned and iconic visual symbols of the Black Panther Party. His book, Black Panther: The Revolutionary Art of Emory Douglas, traces his art and biography in the BPP. His artwork continues to influence radical movements across the globe, including in Chiapas, Cuba, Palestine, Australia, and beyond. Mary Hooks is the co-director of Southerners on New Ground (SONG). SONG is a political home for LGBTQ liberation across all lines of race, class, abilities, age, culture, gender, and sexuality in the South. SONG builds, sustains, and connects a southern regional base of LGBTQ people in order to transform the region through strategic projects and campaigns developed in response to the current conditions in our communities. SONG builds this movement through leadership development, coalition and alliance building, intersectional analysis, and organizing. Yoel Haile is a Criminal Justice Associate with the ACLU of Northern California. Yoel grew up in Asmara, Eritrea, and moved to California in 2006. He attended the University of California, Santa Barbara as an undergraduate, where he helped initiate and negotiate Black student demands to the campus chancellor that resulted in more than $3.7 million in immediate and committed funding for the recruitment and retention of Black students, staff and faculty. Diane Fujino (moderator) is co-editor, with Matef Harmachis, of Black Power Afterlives: The Enduring Significance of the Black Panther Party. She studies, writes, and teaches about Asian American and Black liberation movements and is in the core leadership of the Ethnic Studies Now! Santa Barbara Coalition. Order a copy of Black Power Afterlives here: https://www.haymarketbooks.org/books/1472-black-power-afterlives Watch the live event recording: https://youtu.be/TCD1kMUgVss Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

#22 Black Panthers: une révolution noire pour la justiceNouvel épisode de notre rubrique révolution. Nous renversons ici les clichés qui montrent que les Black Panthers comme des hommes noirs glamour mais violents, idéalistes et qui ont mal fini, pendant une époque révolutionnaire romantique mais bien révolue. Composé en majorité de femmes, ce parti a réussi à révolter la majorité noire pauvre des ghettos Etats-Uniens et la jeunesse blanche contre le pouvoir du pays le plus puissant du monde. Et comme vous l'entendrez, c'est pour cela qu'il reste une menace aujourd'hui. Bonne écoute!Références :Musique: (For God's sake) Give more power to the people!, The Chi-Lites, The ghetto, Donny Hathaway, Panther power, Paris Livres: Black Panthers (photos), Stephen Shames, éditions La Martiniere, 2006We want freedom, une vie dans le parti des Black Panthers, Mumia Abu-Jamal, Le temps des cerises, 2006All power to the people, textes et discours des Black Panthers, Philip S. Foner, éditions Syllepse, 2016 (première édition anglaise 1970)Films:Judas and the black messiah, Shaka King, 2021Black Panthers: vanguard of the revolution, Stanley Nelson, 2015. VF disponible sur Arte en streaming gratuit jusqu'en octobre 2021The Black Power Mixtape 1967-1975, Göran Olsson, 2011. VO en streaming gratuit disponible (anglais) et VOST en français ici.Black Panthers, Agnes Varda, 1968Travail du collectif Cases Rebelles (que nous remercions): Entretien avec Emory Douglas (2014), Lowndes County Freedom Party: a l'origine de la panthère (2016), Une conversation entre Ericka Huggins et Yuri Kochiyama (traduction 2017, interview 2009), San Francisco 504: a l'intersection des luttes handies et noires (2014), George Jackson et Les Frères de Soledad (2014), Une brève histoire des Polynesian Panthers (2015), Mon enfance dans le Black Panther Party (2016) Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Emory Douglas is an American graphic artist and member of the Black Panther Party from 1967 until the Party disbanded in the 1980s. As a 'revolutionary artist' and the Minister of Culture for the BPP, Douglas created iconography to represent Black-American oppression and his work became symbolic of the movement. He continues to create new art and to exhibit and lecture around the world. He has been working with the Polynesian Panthers on their 50th Anniversary celebrations this year, and will collaborate on painting a mural to celebrate the links between the organisations as part of the Auckland Arts Festival.

"Fumettisti dei diritti civili: quattro disegnatori afroamericani" di Gianluca Diana

PIGYou filthy pigFatty fatty two by fourCouldn't get through the bathroom doorSo he let it out and licked it upAnd let it out and licked some moreNapoleon is a friend of mineHe resembles FrankensteinWhen he does a rig-a-jigHe resembles porky pigNah-nah nah-nah, nah-nah-nah Nah-nah nah-nah, nah-nah-nah  A pig is a metaphorIs a wild boar in a fairy taleWho gores the princeAnd sets him up to meet the princessAnd free her from the clutches of the evil witchesIt was a wild boar who ended the wars of religion in France when he got himself killed by Henry of Navarre, who saved the life of his cousin, King Henry the Third, and who ended up becoming King Henry the Fourth because of it, the first Protestant king in France, although he had to become a Catholic to get the crown, but after he got it, he wasn't so keen on killing his Protestant friends and relatives, and who could blame him? Certainly not the pig, because he was dead. razorback, piggy back, piggy bank, piggy in the middle, in a pig's eye, pigs fly, living in a pig sty, eat like a pig, sweat like a pig, fuck like a, don't buy a pig in a poke,  pig ugly, pig-headed, pig latin, pig iron, pig skin, pig trotter, pork chop, bacon, guinea pig, pigtail, hog tie, hog wash, high on the hog wild, going the whole hog,  fat as a pig, dirty as a pig, slick as a greased ham gammon, squeal like a, feel like a, bleed like a lipstick on a stuck up piggily-wiggily, higgledy-piggledy, happy as a pig in shit It was the Black Panther Party that coined the word “pig” as a term of abuse for the police. Eldridge Cleaver and Huey Newton are credited with coining the phrase, but it was Emory Douglas and his vivid drawings in the Party newspaper that burned the phrase into the Sixties consciousness and turned “the killer pig” into a metaphor for the entire political-economic establishment. A friend of a friend who worked as a temp for the city of Seattle spent six months in the police department. She said to my friend, “You know, back in the Sixties, everybody called them pigs and i went along with it, but now that i've been there for six months and gotten to know them as people… wow, they really are pigs.” razorback, piggy back, piggy bank, piggy in the middle, in a pig's eye, pigs fly, living in a pig sty, eat like a pig, sweat like a pig, fuck like a, don't buy a pig in a poke,  pig ugly, pig-headed, pig latin, pig iron, pig skin, pig trotter, pork chop, bacon, guinea pig, pigtail, hog tie, hog wash, high on the hog wild, going the whole hog,  fat as a pig, dirty as a pig, slick as a greased ham gammon, squeal like a, feel like a, bleed like a lipstick on a stuck up piggily-wiggily, higgledy-piggledy, happy as a pig in shit Bacon and pork sausage are two of the most unhealthy meats available to the modern cuisine. Besides all the undesirable chemicals, they have a lot of fat in them, and pork in general is considered to be unhealthy, unclean in some religions, and just too darn fatty even for atheists. But all that has changed in recent years. A lean cut of pork loin has about the same low fat content as white meat on a chicken. It used to be that living off the fat of the land was considered a good thing, but now thin is the new fat, pork is the new chicken, and nutritionists say we owe all this to the modern farm breeding techniques... But i think maybe it's just down to the fact that pigs are spending less time at Dunkin' Donuts. razorback, piggy back, piggy bank, piggy in the middle, in a pig's eye, pigs fly, living in a pig sty, eat like a pig, sweat like a pig, fuc

Rick Valicenti (founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities), Iker Gil (architect, director of MAS Studio, editor in chief of the quarterly design journal, MAS Context), and Jenn Stucker (associate professor and division chair of graphic design at BGSU, founding board member of the American Institute of Graphic Arts, AIGA Toledo) discuss community-based collaborative design.    Transcript: Introduction: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Intro Song Lyrics: I'm going to show you this with a wonderful experiment. Jolie Sheffer: Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Sheffer, associate professor of English and american culture studies and the director of ICS. Today we're joined by three guests working in collaborative design fields. First is Rick Valicenti, the founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities. His work has been exhibited in the Museum of Modern Art and resides in the permanent collections of the Yale University Library, Denver Art Museum, and the Art Institute of Chicago. In 2011, he was honored by the White House with the Smithsonian Cooper-Hewitt National Design Award for communication design. Jolie Sheffer: We're also joined by Iker Gil, an architect, the director of MAS Studio, editor in chief of the quarterly design journal, MAS Context, and the editor of the book, Shanghai Transforming. He curated the exhibition, Bold: Alternative Scenarios for Chicago, included in the inaugural Chicago Architecture Biennial. Iker is the associate curator of the US Pavilion at the 16th Annual Venice Architecture Biennale. In 2010, he received the Emerging Visions Award from the Chicago Architectural Club. Jolie Sheffer: Finally, I'd like to welcome Jenn Stucker an associate professor and division chair of graphic design at BGSU. Her work has been published in several books on design and she's received various awards including two international design awards from How Magazine for her community based works in Toledo. She's also a founding board member of the American Institute of Graphic Arts, AIGA Toledo. And she previously co-chaired two national AIGA design education conferences. Jolie Sheffer: The three of them are here to talk to me as part of the Edwin H. Simmons Creative Minds series. Thank you and welcome to BGSU. I'm thrilled to discuss more of your work on creativity and collaboration. I like to start by having you each give a little background on your current work and how you came into the kind of design work that you're doing. So Rick, how did your career change from your time as a student at BGSU to your work now? What are some of those major u-turns or forks in the road for you? Rick Valicenti: Well, thank you. That's a good question. That's a really good question. Okay, so let me fast backwards to 1973 when I graduated from Bowling Green. I went back to Pittsburgh, spent some time in a steel mill for two years, went to graduate school at the University of Iowa. Came to Chicago afterwards with two graduate degrees in photography and discovered that I was not interested in photographing hotdogs, cornflakes and beer. So with that I thought I would leverage a time in the writer's workshop doing a little bit of letter press work as well as my time at Bowling Green studying design. And I thought I'll be a designer. It wasn't that easy. But it has been a journey for now almost four decades since then to get to a place where I feel there's relevance in what I do. And that has been the challenge, and it continues to be the challenge. Design, as you know, is a practice that has at its core, or patronage, somebody else. Rick Valicenti: In fact, it's been said you have to be given permission to practice graphic design. Not necessarily the case, you can do self-initiated projects. And it was in leveraging what I learned in graduate school, which was how to make up a project, how to provide for myself a thesis and then create work in response to that. That has allowed me to both do that on my own as well as in collaboration with other people. And then to encourage younger designers under some guidance to do the same. And of late, the more interesting work has been work that has been related to an issue, not unlike the work that Jenn practices in her classwork. But to me that's the most fulfilling and it was unfortunately not the work that I showed because it was work I was prepared to end the evening with. But I chose because we had been blabbing for so long last night to just stop early. But it's okay. Jolie Sheffer: Tell me what led you to start your own firm? Rick Valicenti: I was one of those lucky designers who, while it was difficult to crack the Chicago design scene, two years of doing what I would refer to as thankless design work, design work where I was asked to do something prescriptive. Like do this by Friday. Yes, I could do that. I was quite good at it. I lucked out by having the opportunity to be the dark room guy for a very reputable Chicago designer, who was at that time 63 years old. And so in his last three and a half years of practice I had moved from the new guy in the studio to the last employee he had. And it was a fantastic experience to be in the company of real design practice. Design practice that understood the history, it understood the present, and it was looking out to the future. This guy was connected to the other thought leaders in the Chicago design community and I had access to them even though it was vicarious. Jolie Sheffer: Great. Thank you. Iker, tell us about your journey into Chicago architecture and the current kinds of collaboration you do. How has your approach to design changed over time and what were some of those key junctures for you? Iker: So I'm originally from Bilbao, which is a city in the North of Spain in the Basque country. And I think a lot of the changes in design and a lot of the ways that I've been thinking had been motivated also by the change of place or how the people that I've encounter or any other aspects that really change as I move from other places. So from Bilbao I went to Barcelona to study architecture. I had the chance there to not only have the professors that were faculty there, but also other visiting professors, like David Chipperfield and Kazuyo Sejima. So that was a way of beginning to connect with other experiences that maybe were not the local ones. And I was very interested in expanding that. And I've had the luck to get a scholarship from IIT in Chicago to go there for a year. Iker: So it was a little bit coincidentally in a way that I ended up in Chicago. And I was there for a year as an exchange student, I still had to do my thesis so I went back to Spain. But there was something about Chicago, a apart from my girlfriend that now is my wife, who is from Chicago. But there was something very intriguing about the city, a lot of potential, very different from being in Barcelona. But there was something always in Barcelona that was interesting for me about the cultural aspect of architecture. There was the aspects of people building a significant building or just a civic building that there was always a publication and an exhibition, a way of coming together to talk about why those things were important. Iker: So when I went to Chicago, when I moved back and I did my master's, I worked for an office. I was always interested in the ADL, the community, the design community, the architecture community. How do you strengthen that and how do you create the platforms to do that beyond what you can design? So I decided at some point that I really wanted to make sure that I did both of those things. And I went on my own about 11 years ago just to make sure that I could create the designs within my office, but create other platforms for others to have that conversation. And more recently I've been able to create the structures to support or organize design competitions and really began being interested in not only the final product, but how do you structure the conditions for those things to happen. Jolie Sheffer: So you're talking about not just designing buildings, but designing communities and relationships. Iker: Yep. And I think that's a role of, in my case, an architect or designers. Like the work that you do, but also the work in the city that you do. And how are you part of the community, and also how are you proactive shaping that community? Not something that you want to benefit from someone else's effort to structure something. What is what you can do and why you can give to the community back? Jolie Sheffer: Great. Jenn, talk to us about your path into graphic design and how your approach has shifted over time. Jenn Stucker: So I was at graduate here at BGSU. Very proud of the training and the experience that I had from Ron Giacomini, a chair that Rick also had the opportunity to study under. And when I graduated I went right out into the field, I got a job in graphic design. And I think was pretty good at my craft and pretty good at making. And also at the same time pursuing this educational path. I am originally a transplant from Colorado, I guess you could say. And one of the things about the Toledo area is there's this "neh" mentality. It's the rust belt. I- Jolie Sheffer: Better days are behind us. Jenn Stucker: Yeah. [crosstalk 00:09:16]. Yes. It's definitely like, why did you move from Colorado to Toledo? Is usually the question that I get asked. And I'm always like, wow, there's so many great things here. You're four hours from Chicago, you're this far from Toronto, you're this far from here. In Colorado you're four hours from the border of Wyoming, at least where I live. Right? And you're looking at the same topography and you're not getting any cultural change. And so for me, my family was here. My husband and his family. And so I was here for the long haul. Jenn Stucker: So the idea really just became, I need to bloom where I'm planted. I need to make this space and place better, and contribute to it and work towards that. Changing the attitude, how do we create positivity in this community? And so I started getting involved in creating projects that really illuminated Toledo in a positive way. And so then I reflected back on the fact that I wasn't necessarily armed with that as a student, with that understanding of the fact that I had agency and power that I could do something. I didn't necessarily have training with, how do you collaborate and get a, you know, writing a grant to get the funding for this? And who do I need to talk to and who needs to bring this to the table? And all of those things. Jenn Stucker: So part of that I think now is coming to what I do as an educator, is to show those students. I tell them, I have no idea what I'm doing. I'm completely fumbling through this. I don't know what I'm doing. This dots project in Toledo that I'm literally the one that's going to be photographing all the dots around Toledo, or trying to find spaces in January and it's cold. And then actually putting them down on the ground and actually taking them off the ground and doing these sort of things. I don't know that when I'm creating the idea. But I know it has to get done and I'm going to do that. And the fact that I'm just Jenn is what I tell them. I'm just one person, I'm not any different than you. And so I try to give them a lot of power that they can do that thing that they want to make change for. Jolie Sheffer: You're all talking about very place-based design practices, or in different ways your work is all very much about locating yourself, right? And building in relationship to that community, and creating community. Could you give an example, Rick, of one of your projects that had a very Chicago-centric, and how that place shaped the process and the collaborations that you developed? Rick Valicenti: With pleasure. In 2016, I was the artist in residence at Loyola University. And there we devoted an entire year to prototyping empathetic ways of grieving for those who were left behind by gun violence. That was a very Chicago-centric theme. And it was something that I was curious about beyond the candle vigil, right? Or the protest march. Are there other ways we can come together both as community led by design in order to acknowledge and honor the life lost? And of course help the healing process for the families left behind. That was a very place specific design assignment. The difference was we were doing it on the North side, and a lot of the activity, gun violent activity was happening on the South side. Not all of it because in the building that we were located, in the alley right next door one of the students had been shot. Rick Valicenti: Down the street the young photographer had been shot and killed on that street. So as they call it, the franchising of gun violence had migrated North to the Rogers Park and Edgewater area, which is where Loyola is located. It made it more real and more tangible, but the prototyping of these empathetic gestures was, I think, healing for all of us. And I've been rewarded by that project ever since. And I really want to see now if something like that can migrate to other cities. And I've been talking to a few people like, wouldn't El Paso benefit from this kind of intervention? Dayton, Ohio, would they not benefit from it? Jolie Sheffer: And could you talk through what that project actually ended up looking like? Rick Valicenti: I'll give you an example. There were 20 students in the class, half of them were from the fine arts area, half of them were from design related fields. And so they all had different approaches to it. And every class began with somebody from the outside. Rick Valicenti: Okay? And I thought this was important. And Iker knows this model of practice that I use, I call it moving design is what I have named the umbrella. But I'll give you an example of three kinds of people who came to the class. One person we arranged for a car to pick up the head of the emergency room at Stroger, which is the hospital, Cook County hospital. And this guy was picked up in a car, came to our class in his [Ohar 00:14:07] blacks with his red tennis shoes. And it was the day after a very violent weekend. This guy showed up shell shocked. You could just see the trauma in his face. He never made eye contact with the students. He was a young guy, maybe 38 or something, had his head down as he spoke. And that was a moving moment. More for me, I think, than anybody else. Rick Valicenti: But it was like, oh my God, here's a first responder who's there and he told us of some of the things that he had seen that have kept him from sleeping. We also had Emory Douglas, who was the communication director, minister of the Black Panthers. So Emory talked about the use of graphic design to move an agenda. And how an unskilled, unfunded initiative of communication design could migrate into the public through the printed ephemera. And he was there to really rally these students. That was fantastic. And then another woman, her name was Cecelia Williams. Cecelia Williams was 28 years old. She is an activist. She's a mother. And in her 28 years she has lost 29 family and friends to gun violence. The first one was her second grade teacher. She came to the class, again, with her version of PTSD. Moved the students and begged the students to do something. Rick Valicenti: Just something. It was in the form of just write the mothers of one of these victims a sympathy card after you hear the headline. Right? That's a simple thing. Or, gather all your cards and one person just take it to the funeral home and leave it in the basket. Simple moment. If you'd like I could share you an example of one of the projects, how we manifested our work at the end. We had lots of installations and interventions around the area, but one in particular was a community based exercise. I showed them an image of logging in Wisconsin. Tree logging. And those images that we're all familiar with are the felled trees in the shallow water, and the guys are standing on the tree trunks. And I said, it wasn't too much earlier before that picture was taken that those were living organisms, but now they're felled to the ground. And let's just imagine that we use the tree trunk as a symbol of those who are fallen. Rick Valicenti: And we've returned them to their vertical position. So that was the form of it. And then we started to talk about, well what could we put on those and what is the form? Are we going to be having tree trunks, that seems wrong. So we ordered lots of very long and very huge custom mailing tubes from a firm in Chicago called Chicago Mailing Tubes. And they made 24 inch, 18 inch and 12 inch mailing tubes of varying lengths. We had them wrapped in white paper and then the students took the grid of Chicago and wrapped each of those trees with black tape to suggest, not replicate, the grid of the city. And then we invited the community to come. And we had the list of the 760 some victims from the previous year to write their first names in whatever black calligraphy we could, whether it was with a Sharpie or whether it was with a brush pen. Rick Valicenti: And to see the community members come together with the students, honoring everybody with the names. And so, okay, that's one facet of it. And we have all these tubes now, and we put end caps on the tubes and the students started to talk about things that they would like to say. If you had to say something to a mother, to a community, to just reduce the pain of gun violence, what might it sound like? Everyone is a hero. I miss you, I miss you, I miss you. Whatever those messages were. And they typeset them in a black and white type, in all caps in a Gothic typeface on an orange disk. That orange disk had a hole cut in the middle and there was an orange piece of a cord, nylon cord, that we knotted. And that provided now these tree trunk-like forms to be carried. Rick Valicenti: And so there was a procession around town into the quad of the campus until they... Oh, I'm sorry. When the morning started all of the trunks were there in the center of the quad. That's right. Like the felled tree trunks. And then the procession started. And there were prayers read, and some music played, and some dancers from the music school came and they did a performative dance. A kind of celebration and resurrection, if you will. And then we were all invited to grab the chords and walk the trunks back to the alley where this student had been shot in the back, and return them to their vertical position. And there, I don't know, there we just reflected on it. But it was all quite moving. And we had it filmed and photographed and there was the record of it that could carry on. Rick Valicenti: We thought that could live in other places. The alderman, I'm sorry if I'm going on so long, I'm taking up this whole hour. But the alderman, his name is Harry Osterman, he was also invited to come. And he said, you know what, I would like that to be re-installed in my local park. And sure enough we installed it in his park and complete with all of the rides that a kid would have, the seesaw on the slide. A couple weeks later we get a call from alderman Osterman's office saying, it seems that there has been some violence in the park and your display has been vandalized. In fact, it has been destroyed. It has been cut up. It has been sawed. It has been smashed. Rick Valicenti: And I thought immediately, oh my God, the last thing we need is for Loyola to be a headline. And this good intention to be diminished. So we quickly scrambled and we went and we cleaned up the site and we got a chainsaw, we rented a chainsaw and we cut the things up so that we could transport it. And here what had happened was the other gang from the other side of the street was upset that, right, there had been some franchise in some retaliation of a recent shooting and this was the way that they could mark their territory. So there's lots healing that needs to be done, but design was certainly there to put a mirror to it. To make a good intention. And to certainly reveal the scab or the wound. Jolie Sheffer: Iker, can you give us an example of some of your place specific work? Maybe one particular project. You talked last night about the Marina Towers. I don't know if you want to talk about that or feel free to take that in a different direction. Iker: Yeah. Maybe one thing that I think is more important is structurally I think being in Chicago is what has saved my practice. I think a lot of the opportunities of doing self-initiated projects or projects that I was particularly interested are allowed to happen in Chicago because maybe there is not the pressure that there is in New York or any other places. And I think the idea of having space as a designer and an architect to think about things was something that I found very important and very unique to Chicago. Iker: So I think in a way, the way I was trained and the way I practice right now is different because of being in Chicago. And particularly that project of Marina City, I think it's one that it's very specific to the idea of Chicago about how it reflects how I work and how the projects evolve. And taking one icon of the city and really using that for me as a personal interest in understanding not only the building but understanding the architect, the ambitions of the architect. Why that building was so forward thinking when it opened in the early 60s. And then beginning to understand, how do you capture that value? Iker: How do you tell that story to people who are not architects? What are the tools that you have? And in that case I worked with Andreas Larsson, a photographer, to really begin to capture the diversity of the community. And it was a way of saying, you don't have to read plans in sections and elevations or use models to communicate the value of a building. There are other ways that maybe you can engage. And then through that you can learn some of the other things. Iker: And then that was exhibited, and then it has continued in doing then renovations in the building with Ellipsis Architecture. So always in collaboration with someone else. And the idea there is that, how do you celebrate the spacial qualities of the marina architect, but at the same time making it modern so new people can be living there. So it's an interesting project that has been ongoing for 10 years. And it just summarizes my interest in Bertrand Goldberg. And then as you work with other people, as you evolve or you have other skills, you can really begin to communicate that in different ways. And I can see that he's probably not going to be the last renovation or not the last project in some shape or form that I'm going to do about that building and that architect, which I think it's fantastic. Jolie Sheffer: Well there's something really interesting. You said something about this at your talk about how a project never really ends, it just sort of evolves into some new shape. Right? And clearly that work is an example of that notion that you never really have an end point. And your example too, Rick, went that way. That it takes on a new form and it may be not what you intended or what you imagined, but you have to let that life go on. Iker: I think in the end they are like your own personal obsessions. They are your interest, but it's sometimes it's an interest and sometimes it's an obsession. And they are in the back of your mind and then there is something that happens that it comes forward again, you have the opportunity to do it and then he goes back. But there are things that obviously you have a certain attachment. And then you realize that there are a lot of buildings, in this case, that share some of the ambitions because they were built in the same period. And then you can make a comparison or connect it to other experiences in other cities. So something that is very local and particular you can engage in a conversation with something that is happening in other cities. So I find it very particular, I never let go of those interests. It's just they transform and the outcome is very different. Jolie Sheffer: And Jenn, you mentioned the dots project. Could you talk about what that was and how that was very much play specific to Toledo? Jenn Stucker: Absolutely. So the genesis of that project came from the Arts Commission. I'd previously had done a banner project for them collaboratively with my colleague Amy Fiddler. And at the time I was president of AIG Toledo. And they came to us to say, oh we're having the GAS conference, the Glass Art Society is going to be coming. It's an international conference and maybe you could do some banners again. And I thought about that and really wanted to do something different. And one of the things about banners is the passivity that it has. And you have to be looking up, kind of encountering those. And so I've always been fascinated with maps and the "you are here" dot specifically. When I go to museums, when I go to zoos, wherever I'm going, I look for that and it gives me a sense of place. And the idea of sense of place seemed very important here at this time. Jenn Stucker: They were going to have people coming from all over the world. What is our sense of place? What is Toledo? And knowing that I wanted people to discover the city, and hopefully through walking. And how could I branch out into various places? So thinking about this dot of "you are here" and wanting people to discover the city, came up with this idea of three foot circular dots that had artwork on them created by a hundred different artists in Toledo that were site specific to that place. So working with the Arts Commission, what are the signature places in Toledo? The Toledo public library, the San Marcos Taqueria. It could be anywhere within the Toledo area, Point Place. So they helped curate that list. We talked about signature points, reached out to all of those establishments to say, more or less, congratulations, you're going to be part of this project. So that they would know that there was going to be a dot in front of their place. Jenn Stucker: And then having artists participate in creating those dots. And then on the dots was a QR code, and this was 2012, so it was still kind of cool then. And the idea was that you would scan the dot and you could then get the background information about the place in which you were standing. So you would learn about St. Patrick's Cathedral and get more information. And then to also give honor to the artist that they too would have their artist statement and what inspired the artwork that they created. And so one of the things about public art is that oftentimes if it's a sculpture, it's a very place specific, and only if you go to that place. And it's typically usually one artist. And so what I really liked about this project was that it was a hundred different artists that were participating in this. Jenn Stucker: And it was originally developed for outsiders to discover Toledo. The things that happened secondarily to that were amazing, where I was getting emails from people that had read about it in the newspaper. And one couple in particular said, we've read about this, we went out to start looking for these dots. They collected 25 of them and ended up at San Marcos Taqueria, said they had the best tacos they've ever had, had no idea it was even there. And they said they were looking forward to discovering more of their city. And I was like, that's a mic drop kind of moment. It couldn't have been any better than having people really realize the great things that we have in the community. So the byproduct of that was just, like I said, people seeing the great things that were here. Jenn Stucker: I wish I'd partnered with a cell phone company at the time because we had people that are actually buying cell phones. Because really, the iPhone had only come out, what, 2007 or something. So we're not too far to not everybody having a smartphone. There were people that were going out to buy a smart phone so that they could participate in this project. And there was a scavenger hunt component too, so we had an app for it. And the first hundred people to digitally collect 25 dots got a custom silkscreened edition poster. And so people are posting on Facebook and finding this dot and taking their children out. And I don't know, couldn't ask for a better project. Jolie Sheffer: We're going to take a short break. Thank you for listening to the BG Ideas podcast. Speaker 1: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Welcome back. Today I'm talking with Rick Valicenti, Iker Gil, and Jenn Stucker about the importance of interdisciplinary collaboration in creative fields. One of the things that you both talked about during your visit was the idea that the form of a given project will change, right? And I think Iker, you put it as something like, what's the story I want to tell and what's going to be the best form to tell that story? So how do you go about, what is part of your process and figuring out that answer to that question of the relationship between form and story? Iker: Yeah, I think that came out about the work and the way we structure MAS Context. And then really the first thing is just framing what the topic that we want to do, and then who should be the voices that need to be part of that issue. And sometimes you realize that you need something that sets the ground and it might be more academic. It might be an essay that really gives the shape to that. And then there are many other elements that can compliment, that can contra, that could take another direction that comes in the form of a short essay. And you need to be very aware. I think that a lot of the work that I do is actually paying attention to what other people are doing in their work. So whenever there is an issue that is coming together, I know I already have in my head what's the work that everybody's doing so I can make those connections. Iker: So it's really understanding how they work, what they are trying to say, what's the shape that it can be. And we've had, in the issues, we have long essays, short essays, photo essays, diagrams, poems. But also the people who write, they don't come from all the academic world. And some of the most interesting articles have come from people who are just residents in a building. And they can tell a story much better than an academic that has talk about housing. And one of the examples is we've done this for 10 years, and then the most read article is about Cabrini–Green, about our resident who grew up there and live there. And we walk with him, with Andreas Larsson actually. And we told him just let's walk around the neighborhood and tell us the stories of what are the meaningful places for you here that you grew up here and your families. Iker: And we just took photographs of that and we made captions of that. And it really was a way for us to understand what it means to leave there. Yes, there are some negative things, but there are many other positive things about Cabrini–Green that they all mask under headlines and other things from other people who have no relationship. So yes, there are many people who write about public housing, about Cabrini–Green, but his point of view and the way to talk about it in a very clear, succinct, and just experiential way of there. It was remarkable and it obviously resonated with the rest of the people because it's still the most read article. And it was in issue three, 10 years ago. Rick Valicenti: We should also keep in mind that Cabrini–Green, if we're talking about form, no longer exists. That building complex has been raised and it's gone. Now it's a Target. Is it not? Iker: Yep. It is. So it's like, when you demolish buildings you just don't demolish the actual building, you demolish the structures, the society, the relationship, everything that is built around that. So the void that it's in the city with the destruction of public housing is not just the building, it's all the fabric, the social fabric that got destroyed. And it's very complicated to regain. And unfortunately nothing really... It's happening at the level that it should be done. Rick Valicenti: And at the time you had an idea that it was going to be demolished or did you not know it was going to be demolished at that time? Iker: I did know that it was going to get demolished. Rick Valicenti: Oh, you did. Okay. But in either case you have left behind through the medium of design and this documentation a real important record of what it was like there at that moment. Iker: Yeah. Because in a way, these stories are not just headlines that once the headline leaves the story leaves. These are people who this is the place where they grew up. Where they live. Where they have their family. And then once the buildings are remove, they have to keep going with their life. They have to do other things. So it is really unfair to just live through headline after headline. The city is a much more complex thing. And I think one of the goals that we tried to do with the journal is really, yes, talk about issues that are important. But that there is a legacy that those things are looked in depth, that someone can go back 40 years later and finding that it's still relevant because there's another situation that contextualizes in a new way. Iker: So this is just a series of thinking that evolves and it grows and builds from each other. But I think there needs to be some, like paying attention to all these issues and build from those rather than be surprised by the latest thing that happens. And then once it goes, it just, oh, it's all sold. Jolie Sheffer: Could you talk, Rick, about your own forays into book work, as you describe it, and why that form made sense for some of those projects? Rick Valicenti: The book format I particularly love, I love its linearity but I also love its ability to be opened at any page. I also love its form, its tactile nature, its ability to change voices and change perceptions as you change the tactile experience when your hand touches a page. Change the paper, change the size of it. All of those things are available tools to find engagement in that which is being communicated and that which is being received. So you know, perhaps as a writer, you're able to capture your thinking in your typing. Jolie Sheffer: Absolutely. I don't know what I'm thinking until I'm typing it. Rick Valicenti: That's right. Until after maybe you've read it and say, oh my God, that's really special. But the designer takes that source material, if you will, and either amplifies it or adds harmony to it in a harmonic sound, or adds depth to it, or adds another perspective. And so I'm keenly aware when I'm making a book that it's not a typesetting assignment, that it really is a duet at the most basic level with the content. Whether it's with the author, whether it's with a photographer, whether it's with both. And how can you bring something to life in a way that under different hands or different perspectives or different budgets or whatever, it would sound different. Rick Valicenti: And just like you can do that when you're reading a poem, or a kid reading a kid's book, you know it sounds different than the parent. It happens when people perform songs, other than the person who wrote the song. So I like the book form, but I really like its linearity. And I must admit, when non-linearity was all the rage with interactive media, I was like, what's that about here? What's happening? I'm getting used to it, but that doesn't mean I need to like it. Jolie Sheffer: What about you Jenn? You've published work in book form. What for you is your particular process in thinking about that as a medium? Jenn Stucker: Well most of the publications, I guess probably been a little bit similar, it's been mostly for documentation that this happening happened has been a big part of that. The other part is most of the work has been with recent alums or with students, and so there's something about creating the object that adds that secondary level of, I guess, accomplishment, right? Or achievement, or that this thing... I guess the same thing is it happened. And so if we have evidence of that. I taught at SACI in Florence, Italy, through our program here at BGSU, last summer and we self published a book out of that called the FLRX times 14. Or 14 of us and putting material together to sort of, what was our experience here in Florence? All being American citizens coming into this place and space. And I don't see those students again. Right? They were from University of Michigan, Penn State, Parsons, couple from BGSU, Marshall. And it was a nice moment to capture and make a capsule, I guess, of that experience. Jolie Sheffer: Well, I want to thank you so much for taking the time to talk with me. It has been a real delight. Our producers for this podcast are Chris Covera and Marco Mendoza with help from Aaron Dufala, Hannah Santiago and Kaleah Ivory. Research assistants for this podcast was provided by ICS undergraduate intern Tay Sauer. This conversation was recorded in the Stanton audio recording studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

Here you are folks, another episode of your favorite podcast. Its like the Paul Henry show if Paul Henry had a heart or Seven Sharp if Mike Hosking had a brain or Good Morning if Dan's cat was some washed up celebrity. This week our heroes speak to none other than Emory Douglas, Former minster of culture for the Black Panthers and one of the most inspiring people you'll ever meet. If you want to help support the podcast head to https://www.patreon.com/HNTBAA

On April 11, 2018, legendary artist, activist, and former Minister of Culture for the Black Panther Party for Self Defense Emory Douglas sat down with the California College of the Arts (CCA) Students of Color Coalition in a roundtable conversation. Douglas talked about his work in creating iconic images of Black liberation as a director, designer, and illustrator for the Panther newspaper, and heard from students …. This conversation was organized by Sita Bhaumik, Scholar in Residence at CCA's Center for Art + Public Life, as part of the Art + Survival program, supported by the CCA Center for Art and Public Life, the President's Diversity Steering Group, in collaboration with Diversity Studies, CCA Students of Color Coalition, and Art Practical

Carlo McCormick met up with Amon Focus in a kitchen deep in the Lower East Side to talk about art, culture and history. In this episode they talk about youth culture, owning your history, privatization of public spaces, huge cultural shifts, Emory Douglas, Jamie Reed and the broken window theory. Show Notes: https://www.newyorksaid.com/carlo-mccormick/

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay!  1. Omowale Fowles, Ph.D. candidate joins us to talk about what we can do to reclaim our political agency today during election season. Remember to register to vote. The deadline is Monday, Oct. 22.  Monday, Oct. 22 is also the 52nd Anniversary of the BPP for Self-Defense. The plan was to play an archived interview with Stanley Nelson, director, Black Panther Party: Vanguard of the Revolution (2015). Also on that show is Emory Douglas, Ericka Huggins. Didn't happen. We'll try again on Monday, Oct. 22 (smile).  We close instead with an archived interview with Iya Colia Lafayette Clark, Pan Africanist, Civil Rights Veteran, Politician. 

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. "Alleluia Panis and Jose Abad join us to talk about the dance media production 'Incarcerated 6x9'. The story is told through the lives of three Pilipino American inmates and their struggles to endure the American judicial system. The show premiers in San Francisco May 4-13, and involves community discussions after each performance." The venue is Bindlestiff Studio, 185 6th Street,  https://www.kularts-sf.org/incarcerated6x9 2. Stephen Vittoria joins us to talk about a new book he and Mumia Abu Jamal are rolling out in three segments, Murder Incoporated: Book 1: Dreaming of Empire. Join Stephen and Mumia Abu Jamal (by phone), Pam Africa, Emory Douglas, Ayana Davis, and others in a reading, Sunday, May 6, 7 p.m. at Oakstop, 17th and Broadway, in Oakland. Visit prisonradio.org 3. Dr. Rachel Elahee & Toni Renee Battle, Ph.D. candidate join us to talk about the opening weekend at EJI's National Memorial for Peace and Justice and the Legacy Museum: From Slavery to Mass Incarceration in Montgomery, AL. https://museumandmemorial.eji.org/museum

Printmaker Jamaal Barber talks about how he got his start as a printmaker, finding his point of view as an artist, and why Emory Douglas’ work inspires him. Barber also shares some thoughts on his book, “Color Theory”, and his exhibition “ BRIGHT BLACK.”

It's Revision Path's fourth anniversary! We're celebrating the occasion by taking a look back at some of the memorable guests we've had over the years, including Jacinda Walker, Ced Funches, AIGA Medalist Emory Douglas, and more. Plus, we have a special guest near the end of the episode, so make sure you stick around for that. It has truly been an honor and a blessing to interview all the 200+ Black designers, developers, and creatives that have been on Revision Path. Thanks to all of you who have listened, downloaded, shared, pledged, and spread the word about Revision Path. There's more coming from Revision Path this year, so keep your eyes peeled for updates! (Gee, I wonder what we should do for our fifth anniversary?) Help support Revision Path by becoming a monthly patron on Patreon! Pledges start at $1 per month, and you’ll receive special patron-only updates, early access to future episodes, and a lot more! Join today! Come join the Revision Path community on Slack! http://revisionpath.com/slack Check out the Revision Path store and buy a t-shirt or hoodie to help support the show! http://revisionpath.com/store We're on iTunes and Stitcher as well! Visit http://revisionpath.com/iTunes or http://revisionpath.com/stitcher, subscribe, and leave us a 5-star rating and a review! Thanks so much to all of you who have already rated and reviewed us! Revision Path is brought to you by Facebook Design, MailChimp, Hover, and SiteGround. Save 10% off your first purchase at Hover by using the promo code revisionpath, and get 60% off all hosting plans at SiteGround by visiting siteground.com/revisionpath! And visit MailChimp’s new hilarious campaign at mailchimp.com/did-you-mean! Follow Revision Path on Facebook, Twitter, and Instagram!

Change has arrived and it's time that the art world increases its influence, inspiration, and power. We’re entering a very interesting time in the arts, when increasing numbers of artists will use their talents to push back against a growing climate of racism, inequality, and social conservatism. As Ted Wells says: "Jump off the BLANDwagon."  Dark times can make life beautiful. With the arts, our lives can be transitional during a time full of powerful artistic commentary and vivid artistic and social expression.  Some artists protest the present while shaping and reinventing the future; others artists help us escape our current reality or remind us that beauty and novelty still exist in the world, regardless of how bad we’re currently feeling about it. During the 1960s, artists created work that protested injustice and inspired the counterculture to battle the conservative backlash. And others made art that was so beautiful that it soothed shattered nerves and lifted average people out of the shadows. That was what the world needed then, and it’s what the world needs now. And I feel that’s exactly what is coming in the next few years. The creation of art, by any of us, can be a way of expressing our feelings within a realm of freedom that we might not be experiencing in our job, or among our community, or within our family. In some ways, it can a be way of emerging some part of our soul that would otherwise be trapped because of the way artistic expression can be squelched by society. Be raw, rougher … more honest and expressive … and way more real. Andy Warhol, Green Day, Revolution Radio, Billie Joe Armstrong, Bob Dylan, Rolling Stone Magazine, Dion, Jefferson Airplane, Sly and and Family Stone, Creedence Clearwater Revival, Emory Douglas, Black Panthers, Broadway, Barry Goldwater, Donald Trump, Martin Later King Jr., Robert Kennedy, JFK, John F. Kennedy, Richard Nixon, George Wallace, Vietnam War, Abraham Lincoln, Walt Whitman, Man Ray, Edward Steichen, Lee Miller, Stuart Davis, Jospeh Cornell, Lucien Carr, William S. Burroughs, Allen Ginsberg, John Giorno, Laurie Andersen, Andrea Fraser, Gus Van Sant, Ted Wells  

When invited by the Stedelijk Museum Bureau Amsterdam to undertake his exhibition Richard Bell—one of Australia’s most renowned and challenging artists— responded by passing the invitation forward. The result is a show that features Bell’s long-time collaborator Emory Douglas (former Minister of Culture of the Black Panther Party), as well a local team of artists brought forward by Aruna Vermeulen, director of the HipHopHuis, including LFMC's very own Brian Elstak, who in this sit down with Bell talked about his work. How he started and what needs to change in het art world. http://smba.nl/en/exhibitions/bell-invites/

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Stanley Nelson joins us to speak about his film: Black Panthers: Vanguard of the Revolution opening today in San Francisco Bay Area theatres. theblackpanthers.com 2. From the archives: Emory Douglas re: Harvey Milk Photo Center exhibit March 9, 2013; Ericka Huggins re: Black Panther Mixed Tape 3. Kim Epifano, Epiphany Dance company's 12th Annual Trolley Dances, Oct. 17018. We are joined by Kim along with other choreographers and dancers: Byb Chanel Bibene, Kiandanda Dance Theatre, and Zoe Bender, ODC's Pilot 66. Visit http://www.epiphanydance.org

Black sturggles with interviews from Emory Douglas former Black Panther Minister of Culture & Khury Petersen Smith from Black Lives Matter and from Australia WAR demonstration May 1 Melb featuring Gary Foley and others. Kevin Healy This is the Week that Was included.

Marxism Conference 2015 concluded recently in Melbourne. Among a range of prominent international and local speakers, the two that stood out the most were Emory Douglas, the former Minister for Culture of the Black Panther Party, and Eamonn McCann, a long-time Irish socialist and civil rights campaigner. The show's topic focused on the experience of the two activists and the assessment of today's situation with regards to the struggle against austerity and racism. 

Today we will celebrate the life of Geronimo ji jaga, decorated US veteran, Black Panther, father, husband, sibling, friend, humanitarian, former Political Prisoner and POW, and founder of Kuji Foundation. Guests include: Kathleen Neal Cleaver, JD, former Communications Secretary, BPP, writer, professor,activist; Emory Douglas, author, artist, former Minister of Culture BPP; Robert King, author, prison abolishionist, Angola 3; Mujah Shakir, Ph.D., Detriot native & former member of the Nation of Islam, is a founding member of the International Campaign to Free Geronimo ji Jaga (Pratt) in 1987 and served as its Chair for 8 yrs. She is also a founding member of the national Jericho 98 Campaign to Free U.S. Political Prisoners and the local bay area Jericho Amnesty Campaign; Tiyesha Meroe, activist, member of Oscar Grant Committee Against Police Brutality and State Repression. She worked with the ICFGjj for 7 yrs.. She ,will co-host the the memorial and tribute to Geronimo with Emory Douglas at East Side Arts Alliance in Oakland, beginning at 6 PM July 15, 2011. Elder Ronald Freeman, Detroit, native, moved in LA in 1961. He was Field Secretary for Southern CA BPP chapter in charge of political and military activities, member, All of Us or None. Black Panther veteran, Kiilu Nyasha has been in the liberation struggle for over 40 years.  An internationalist, she is a supporter of political prisoners, a death penalty and prison abolitionist & revolutionary journalist. Billy X Jennings& Dr. Gail Shaw ItsAboutTimeBPP.com. Special greetings from Tanzania, in order of broadcast: Joju ji jaga Cleaver, Brother Pete O'Neal, Mama Charlotte O'Neal. 

The Zapatistas are a group in the southern state of Chiapas, Mexico working to bring democracy to their country and their local communities. 20 years after their founding, the group's influences has spread far beyond Mexico's border through music and art. On this edition of Making Contact producer Alejandro Rosas explores how Zapatismo has influenced those in the U.S. — including himself. Special thanks to Claire Schoen and the University of California Berkeley, School of Journalism. Featuring: Hector Flores, Las Cafeteras member; Margaret Chowning, University of California at Berkeley professor of Mexican history; Emory Douglas, former Black Panther Party Minister of Culture.   For More Information: Margaret Chowning Emory Douglas Las Cafeteras Olmeca   The post Making Contact – Ya Basta appeared first on KPFA.

For the month of January, we have a 3-part “Design Journeys” series — podcast interviews with designers that have been featured on AIGA.org. Rounding out our series here on Martin Luther King, Jr. Day is an interview with Emory Douglas, the former Minister of Culture for the Black Panther Party from 1960-1981. I think you’ll really enjoy this talk with an American design legend. Show Notes Emory Douglas on Facebook Emory Douglas Art on Tumblr The Black Panther Newspaper Black Panther: The Revolutionary Art of Emory Douglas Emory Douglas at The Netherlands Institute for Design and Fashion The Emory Douglas Skateboard

Today we speak to Jennifer Phang about her futuristic thriller, Advantageous, which is screening with Mekong Hotel as a part of CAAM Festival Sat., March 16, 4 p.m. at PFA and Sun., Mar. 17, at 2:10 p.m.. at New People. In the film, Gwen is the spokesperson for a radical technology allowing people to overcome their natural disadvantages and begin life anew. But when her job and family are in crisis, will she undergo the procedure herself? Phang's presents an interesting premise. What will a mother sacrifice for her daughter's future? Advantageous is an amazing playing out of the patriarchal system—and the look, a woman's look, "more universal" which means ethnic erasure. A true melting pot with benefits for the most visually assimilated. Gwen, a single mom, with school fees to pay, is suddenly too old to advance in her company and too Asian looking for that universal face caamedia.org Stephen Vittoria, director of "Long Distance Revolutionary: A Journey with Mumia Abu Jamal," opens at the New Parkway today (3/8-14/2013) with screenings at 4 and 7:30 p.m.. thenewparkway.com We have a chance interview with Rachel West from "Global Women Strike" who tells about "The RISE out of Poverty Act" reintroduced last month by Congresswoman Gwen Moore (Wisconsin). There is an International Women's Day event planned in LA to stop the construction of a new women's prison http://www.globalwomenstrike.net/Emory Douglas, Revolutionary Artist and former Min. of Culture for the Black Panther Party speaks about his travels and work, women and civil action. He is giving an artist talk at the Harvey Milk Photo Center, 50 Dubose Street, in San Francisco, Sat., March 9, 2013, 1-4 p.m.. (415) 554-9522.

Today we will celebrate the life of Geronimo ji jaga, decorated US veteran, Black Panther, father, husband, sibling, friend, humanitarian, former Political Prisoner and POW, and founder of Kuji Foundation. Guests include: Kathleen Neal Cleaver, JD, former Communications Secretary, BPP, writer, professor, activist; Emory Douglas, author, artist, former Minister of Culture BPP; Robert King, author, prison abolitionist, Angola 3; Mujah Shakir, Ph.D., Detroit native & former member of the Nation of Islam, is a founding member of the International Campaign to Free Geronimo ji Jaga (Pratt) in 1987 and served as its Chair for 8 yrs. She is also a founding member of the national Jericho 98 Campaign to Free U.S. Political Prisoners and the local bay area Jericho Amnesty Campaign; Tiyesha Meroe, activist, member of Oscar Grant Committee Against Police Brutality and State Repression. She worked with the ICFGjj for 7 yrs. She will co-host the memorial and tribute to Geronimo with Emory Douglas at East Side Arts Alliance in Oakland, beginning at 6 PM July 15, 2011. Elder Ronald Freeman, Detroit, native, moved in LA in 1961. He was Field Secretary for Southern CA BPP chapter in charge of political and military activities, member, All of Us or None. Black Panther veteran, Kiilu Nyasha has been in the liberation struggle for over 40 years.  An internationalist, she is a supporter of political prisoners, a death penalty and prison abolitionist & revolutionary journalist. Billy X Jennings& Dr. Gail Shaw ItsAboutTimeBPP.com. Special greetings from Tanzania, in order of broadcast: Joju ji jaga Cleaver, Brother Pete O'Neal, Mama Charlotte O'Neal.   

Emory Douglas was the official artist of the Black Panther Party. His illustrations graced hundreds of issues of the Black Panther Party newspaper and appeared through revolutionary social movements throughout the globe. The New Museum recently mounted a retrospective of Douglas' work "Emory Douglas Black Panther" on view July 22 to October 18th. (www.newmuseum.org) I had a change to sit down with Emory Douglas as we discussed the history of the Black Panther Party and his evoluion as an artist/

Today's show was pretty phonomenal, the themes crisscrossing throughout as one guest touched on a theme resonating with previous guests such as place and home, what it means to be indigenous and why black people have to hold up their traditions and honor their heroes and each other via our culture: words, music, art and activism. In the studio we spoke to Joyce Hutton, niece of the late Bobby Hutton, the third person to join the Black Panther Party for Self-Defense, and its youngest member at that time, Emory Douglas, former Min. of Culture for the BPP, Alan Laird and Terry Cotton, both members of the BPP and friends of Lil' Bobby Hutton, murdered by Oakland police just two days after the murder of Martin King, April 4, 1968 (Hutton shot and killed 4/6/1968). Also joining them is Damon Eaves, blackpantherblvd.com which has organized the Bobby Hutton Memorial Benefit, opening Nov. 29, 7-10 PM at the Luggage Store Gallery, 1007 Market Steet, in San Francisco, (415) 255-5971. Next we spoke to Afro-Polynesian singer, choreographer Mahealani Uchiyama, who will appear, Sunday, Nov. 30, 8 PM, $10, at Ashkenaz Music and Dance Center, 1317 San Pablo Ave., in Berkeley. Visit www.mahea.com. Barry Shabaka Henley "Seth Holly," and Brent Jennings "Bynum Walker," cast in Berkeley Rep's staging of August Wilson's "Joe Turner Come and Gone," through Dec. 14, were up next. Visit www.berkeleyrep.org. We closed the show with a conversation with lyricist Jahi, who is opening for Wu Tang Clan, Dec. 3, 8 PM (doors open/show at 9 PM) at the Regency Ballroom in San Francisco on Van Ness Ave. The show is all ages, as are all the events listed here this week. Jahi will also perform at the Association for the Study of Classical African Civilizations Conference Friday, Dec. 5, 2008, 7-10 PM at ASA Academy in Oakland and 12/6. Visit www.myspace.com/hotbutteredflows. And for all the happenings in town: http://wandaspicks.com. Tune in Wednesday, Dec. 3, for Wanda's Picks Radio, 6-7 AM, PST.

This morning we'll be speaking with participants in the Critical Resisitance Conference 10 at Laney College, 900 Fallon Street, Oakland, this weekend: our regular guest Robert H. King, A3,author of "From the Bottom of the Heap," (PM Press) along with other guests: Emory Douglas, former Minister of Culture for the Black Panther Party, Pam and Ramona Africa, MOVE 9, and the International Friends and Family of Mumia Abu Jamal, Hamdiyah Cook, All of Us or None and the California Coalition for Women Prisoners. Also this week we will visit with actors from a couple of San Francisco Bay Area companies: Berkeley Rep, which is currently in production with Yellowjackets. We'll be speaking to Amaya Alonso Hallifax and Jahmela Biggs. We will close the morning with a dicussion of the wonderful play, MacB, The MacBeth Project at the African American Shakespeare Company. For more details visit http://wandaspicks.com Closing: Freda Kahlo exhibit at SFMOMA, Kev Choice is at the Shattuck Downlow tonight, Sept. 26, Sacred Spray Paint at Mama Buzz Cafe, 2318 Telegraph Ave., in Oakland, closes Sept. 27, and Laney College Theatre presents: Cubaneando, Saturday-Sunday, Sept. 27-28, 8 and 5 PM. Laney College is at 900 Fallon Street, near Lake Merritt BART and the Oakland Museum.

Interview with Emory Douglas, author of "Black Panther the Revolutionary Art of Emory Douglas." The post Africa Today – May 21, 2007 appeared first on KPFA.