Podcast appearances and mentions of Hank Willis Thomas

Creativity is as intrinsic to our species as any of our basic instincts, says Debbie Millman, designer and curator. But for millions of people in the United States, the ability to create has been thwarted. This basic human need, as important as love and shelter, Millman says, isn't available for people serving time at the nearly 2,000 correctional facilities across America. In this discussion, moderated by Millman, a group of artists and activists share how they're working to bring creative outlets to people who are incarcerated. Turns out ushering creativity into these dark and lonely spaces not only increases hope for the incarcerated, it makes our country safer. Common, a hip hop artist and actor, launched the nonprofits Imagine Justice and the Common Ground Foundation. Hank Willis Thomas is a conceptual artist who co-founded For Freedoms. Claudia Peña is an artist and founding co-director of the Center for Justice at UCLA. Michael Murphy is an architect, artist, educator, and writer. This talk was recorded at the 2024 Aspen Ideas Festival. aspenideas.org

New Year, New season of Studio Noize! Your boy JBarber went to see Giants at the High Museum of Art and he has some thoughts. The exhibition featured art from the Dean Collection of Swizz Beats and Alicia Keys. There are so many conversations to be had coming out of the show. There's wealth and celebrity, there's propaganda, and there's phenomenal, awe inspiring art. We owe it to them and their efforts to give a good honest critique of the whole endeavor. The same way we examine a show like Afro Atlantic Histories we should examine the good and bad about Giants. A great way to blast into the new year! Listen, subscribe, and share!Episode 194 topics include:Giants at the High Museum of Art in Atlantacelebrity and wealth in articonographythe who's who of Black artKehinde Wiley's 30ft paintingBarkley Hendrickpropaganda in exhibitionsAbout Giants:Musicians, songwriters, and producers Swizz Beatz (Kasseem Dean) and Alicia Keys have stood as giants in the global cultural landscape for decades. As collectors, the Deans have lived their ethos of “artists supporting artists,” acquiring a world-class collection of paintings, photographs, and sculptures by diverse, multigenerational artists.The exhibition illuminates the renown and impact of legendary and canon-expanding artists. Preeminent “giants” such as Barkley L. Hendricks, Esther Mahlangu, and Gordon Parks push the boundaries of what can be seen on canvas and in photography while building a foundation for today's Black creatives. Contemporary artists like Hank Willis Thomas and Qualeasha Wood use materials like textiles, steel, and beads to celebrate Blackness and critique society, while mesmerizing compositions from Deana Lawson and Mickalene Thomas challenge and add nuance to perceptions of Blackness. Embodying the exhibition's “giant” ethos, the paintings by Amy Sherald and Titus Kaphar command attention through striking monumentality. Together, these works bring to the fore many facets of the term giants and reflect the spirit of the Deans, whose creative lives infuse the exhibition. See more: Giants exhibition at the High MuseumFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Hank Willis Thomas talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Thomas, born in 1976 in Plainfield, New Jersey, is a conceptual artist whose works in various media address identity, collectivity and subjectivity, particularly in relation to race, and how these subjects shape—and are shaped by—broad phenomena, from sports, advertising and brands to art history. Thomas trained as a photographer and a search for a singular powerful image underpins much of his work. But however impactful it might be at first sight, that instant appeal is always a gateway to greater cultural and historical complexity. He discusses his latest exhibition, Kinship of the Soul and its fusion of the paintings of Romare Bearden, Aaron Douglas and Henri Matisse, the early influence of Roy DeCarava's photographs, the importance of the Gee's Bend quilters, the writing of Audre Lorde and James Baldwin, and his surprising response to the Dukes of Hazzard television show. Plus, he answers our usual questions, including the ultimate: what is art for?Hank Willis Thomas: Kinship of the Soul, Pace, London, unil 21 December; Irving Penn: Kinship, Curated by Hank Willis Thomas, Pace, New York, until 21 December. Hosted on Acast. See acast.com/privacy for more information.

Hank Willis Thomas is a US artist who works across media to explore themes including identity, popular culture and mass media. We meet him at his exhibition of collages, ‘Kinship of the Soul', at London's Pace Gallery. See omnystudio.com/listener for privacy information.

Emily McElwreath, Host of the Art Career Podcast, in conversation with Marilyn Minter and Jasmin Wahi at the Neuburger Museum at Purchase College. Now, more than ever, our work as artists, activists, and advocates is critical in challenging oppressive structures and ensuring our voices are heard. Please join me @neubergermuseum next Thursday, November 14th, at 7pm. I will be speaking with two of the greatest, @marilynminter and @browngirlcurator About the Yaseen Lectures on the Fine Arts: This lecture series, which began in 1974, was endowed by the late Leonard C. Yaseen and his wife Helen, former residents of Larchmont, New York, who financed a similar series at the Metropolitan Museum of Art. Featured speakers have included Gordon Parks, Claes Oldenburg, Maya Angelou, Faith Ringgold, Chuck Close, John Shearer, Hank Willis Thomas, and Purchase College alumnus Fred Wilson. The legacy of the Yaseens's gift continues today through the support of Roger Yaseen and his family in honor of his parents. The Yaseen Lectures on the Fine Arts Fund is stewarded by The New York Community Trust.

Ep.222 José Parlá (b.1973) creates paintings and multidisciplinary works based on his interest in hybrid forms of abstraction. He draws inspiration from various mediums including music, calligraphy, dance, and the decay of urban architecture and advertisements. His works poetically challenge ideas about language, politics, identity, and how we define places and spaces. Parlá's relationship with mark-making is physical and textural, incorporating the body's gestures into a painterly stream of consciousness composed of areas of addition, erasure, and layering that challenge the status quo of visual culture. Parlá was born to Cuban parents in Miami, Florida, and lives and works out of Brooklyn, New York. He studied painting at Savannah College of Art & Design (SCAD) in Savannah, Georgia; the New World School of the Arts, Miami, Florida; and Miami Dade College, Miami, Florida. Solo exhibitions of Parlá's work have been organized at institutions such as The Bronx Museum, New York (2022); Gana Art Center, Seoul (2022); Istanbul'74, Istanbul (2019); Hong Kong Contemporary Art (HOCA) Foundation, Hong Kong (2019); Neuberger Museum of Art, New York (2018); SCAD Museum of Art, Savannah (2017); Brooklyn Academy of Music (BAM), New York (2017); Goss-Michael Foundation, Dallas (2016); High Museum of Art, Atlanta (2015); amongst others. Public arts projects include permanent large-scale commissions including Far Rockaway Writer's Library, a collaboration between Snøhetta and Parlá, New York (2023); University of Texas, Austin (2018); ONE World Trade Center, New York (2015); A collaboration with Snøhetta, Hunt Library at North Carolina State University, Raleigh (2013); Barclays Center, New York (2012); Brooklyn Academy of Music (BAM), New York (2012); Concord City Place, Toronto (2010). Select group exhibitions and biennials include The Culture: Hip Hop & Contemporary Art in the 21st Century, Baltimore Museum of Art, Baltimore (2023); Brooklyn Abstraction, Four Artists, Four Walls, Brooklyn Museum, New York (2022); Reflections, Gana Art, Seoul (2019); Glasstress, Fondazione Berengo Art Space, Venice (2019); Beyond the Streets, New York (2019); Yasiin bey: Negus, Brooklyn Museum, New York (2019); Victors for Art, University of Michigan Museum of Art, Ann Arbor (2017); Post No Bills: Public Walls as Studio and Source, Neuberger Museum of Art, New York (2016); Seeing, Saying, Images and Words, Van Every/Smith Galleries, Davidson College, North Carolina (2016); Wrinkles of the City: Havana Cuba: JR & José Parlá, the Havana Biennial, Havana (2012); amongst others. Parlá's work is in several public collections including the Brooklyn Museum, New York; The British Museum, London; Buffalo AKG Art Museum, New York; El Espacio, Miami; POLA Museum of Art, Japan; Pérez Art Museum Miami, Florida; The Gordon Parks Foundation, Pleasantville, NY; The Neuberger Museum of Art, New York; and The National Museum of Fine Arts, Havana. Parlá serves on the board of National YoungArts Foundation. Parlá has received numerous awards, including the Scholastic Art & Writing Awards, Alumni Achivement Award (2024) Gordon Parks Foundation Fellowship (2023), the Hirshhorn Museum Artist x Artist honoree (Hank Willis Thomas x José Parlá) (2023), National Young Arts Foundation Award (2022), Americans for the Arts National Art Award (2022), Americans for the Arts Public Art Network (2019), Miami Dade College Alumni Hall of Fame Award inductee (2016), Brooklyn Arts Council honoree (2014), Institute of Contemporary Arts(ICA) London – Grand Prize (2013), Heartland Film Festival - Best Documentary Short and Best U.S. Premiere for Wrinkles of the City, Havana (2013) Scholastic Art Award. Photographer James Chororos

In her new book, The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the historian and Harvard professor Sarah Lewis unpacks a major part of United States history that until now wasn't just brushed over, but was intentionally buried: how the ​​Caucasian War and the end of the Civil War were conflated by P.T. Barnum, former President Woodrow Wilson, and others to shape how we see race in America. Long overdue, The Unseen Truth is a watershed book about photography and visuality that calls to mind works by history-shaping authors such as James Baldwin, Toni Morrison, and bell hooks. Lewis is also the founder of the Vision & Justice initiative, which strives to educate the public about the importance of art and culture for equity and justice in the U.S., and is launching a new publishing venture with Aperture this fall.On the episode, she discusses the tension between pedagogy and propaganda; the deep influence of Frederick Douglass's 1861 “Pictures and Progress” lecture on her work; how a near-death car crash altered the course of her life and The Unseen Truth; and the special ability of certain photographs to stop time.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Sarah Lewis[04:01] The Unseen Truth[05:24] Woodrow Wilson[05:24] Frederick Douglass[05:24] P.T. Barnum[06:51] Toni Morrison[06:51] Angela Davis[06:51] Mathew Brady[51:14] Vision & Justice[11:35] Caucasus[14:02] Imam Shamil[17:38] Caucasian War[19:31] MFA Boston[19:31] The Metropolitan Museum[22:30] “Pictures and Progress”[28:41] “A Circassian”[28:41] “Slave Ship”[28:41] “The Gulf Stream”[35:13] Frances Benjamin Johnston[39:20] Jarvis Givens[39:20] Fugitive Pedagogy[44:05] The Rise: Creativity, the Gift of Failure, and the Search of Mastery[49:08] Montserrat[49:08] Under the Volcano[51:36] Aperture[52:26] Maurice Berger[52:26] Coreen Simpson[52:26] Doug Harris[52:26] Deborah Willis[52:26] Leigh Raiford[52:57] Hal Foster[56:01] Hank Willis Thomas[56:01] Theaster Gates[56:01] Mark Bradford[56:01] Amy Sherald[57:58] Wynton Marsalis[57:58] Charles Black, Jr.[57:58] Louis Armstrong[57:58] Brown v. Board of Education

This week on The Curatorial Blonde we have Allison Glenn. Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials, and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit.  Previous roles include Co-Curator of Counterpublic Triennial 2023; Senior Curator at New York's Public Art Fund, where she proposed and developed Fred Eversley: Parabolic Light (2023) and Edra Soto Graft (2024) for Doris C. Freedman Plaza; Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges 120-acre campus through a series of new commissions, touring group exhibitions, and long-term loans. She also realized site-specific architectural interventions, such as Joanna Keane Lopez, A dance of us (un baile de nosotros), (2020), as part of State of the Art 2020 at The Momentary. She acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. A Curatorial Fellowship with the City of Chicago's Department of Cultural Affairs and Special Events, culminated with In the beginning, sometimes I left messages in the street (2016), a citywide billboard and performance exhibition. As Program Manager at University of Chicago's Arts Incubator, she worked with a team led by Theaster Gates to develop the emergent space, where she curated exhibitions and commissioned performances such as Amun: The Unseen Legends (2014), a new performance from Terry Adkin's Lone Wolf Recital Corps, that included Kamau Patton. Glenn has been a visiting critic, lecturer, and guest speaker at a number of universities, including The University of Tulsa, University of Pennsylvania, School of the Art Institute of Chicago, Louisiana State University, and Pacific Northwest College of Art. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, The Neubauer Collegium, Counterpublic Triennial, Prospect New Orleans Triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, ART21 Magazine, Pelican Bomb, Ruckus Journal, and Newcity, amongst others. She has curated notable public commissions, group exhibitions, and site specific artist projects by many artists, including Mendi + Keith Obadike, Matthew Angelo Harrison, Maya Stovall, Rashid Johnson, Basel Abbas + Ruanne Abou-Rahme, Lonnie Holley, Ronny Quevedo, Edra Soto, Terry Adkins, Kamau Patton,Shinique Smith, Torkwase Dyson, George Sanchez-Calderon, Hank Willis Thomas, Odili Donald Odita, Martine Syms, Derrick Adams, Lisa Alvarado, Sarah Braman, Spencer Finch, Jessica Stockholder, Joanna Keane-Lopez, Genevieve Gaignard and others. Her 2021 exhibition Promise, Witness, Remembrance was name one of the Best Art Exhibitions of 2021 by The New York Times. Glenn is a member of Madison Square Park Conservancy's Public Art Consortium Collaboration Committee and sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit.

On Thursday 4 July, the UK will hold a general election, with the Labour party currently far ahead in the opinion polls. Dale Berning Sawa, a contributor to The Art Newspaper who is also commissioning editor at the online news site The Conversation, joins Ben Luke to reflect on the effects on culture of 14 years of Conservative or Conservative-led governments, and what they and the other parties are promising regarding culture in their manifestos. In Florence, Italy, the former director of the Uffizi galleries, the German Eike Schmidt, has lost the race to be mayor of the city. We speak to our correspondent in Italy, James Imam, to find out what happened. And this episode's Work of the Week is All Power to All People by Hank Willis Thomas. This huge public sculpture depicting an Afro pick with a Black Power salute is at the Glastonbury festival, in a new initiative organised by the non-profit Level Ground, and we talk to Thomas about it.Hank Willis Thomas: All Power to All People, West Holts Stage, Glastonbury Festival, until 30 June. Hosted on Acast. See acast.com/privacy for more information.

In today's episode of the podcast, I chat with Dan Milnor, an acclaimed documentary photographer who shares transformative insights on creativity, industry challenges, and the true impact of social media on your work.The Big Ideas:Seek Inspiration, Not Imitation: Embrace the storytelling and influence behind another artist's work rather than copying style or gear.The Value of Authentic Engagement: Understand social media's shallow interactions and focus on building a genuine audience.Embracing a Multifaceted Identity: Delve into various creative outlets to enrich your photography and personal brand.Isolation for Innovation: Discover how stepping away from the crowd can enhance your unique voice and creativity.Photography Action Plan:Explore Outside Influences: Visit the websites of conceptual artists or photographers you admire at least a few times per year. Jot down what elements of their work inspire you the most. Incorporate what resonates with you into your photography, be it their storytelling approach or their thematic focus, to craft a richer narrative in your images.Prioritize Care with Equipment: Familiarize yourself with the functionalities of your current equipment, such as the exposure compensation dial, to enhance your shooting efficiency without the need to upgrade immediately. Engage in Long-Term Projects: Select a subject matter that sparks your curiosity and devote time to a long-term photographic project. This commitment often leads to deeper insights and more substantive work. Resist the industrial pressure to multitask on numerous short-term endeavors and instead focus on developing a solid body of work that reflects your dedication and skill. Rethink Social Media Engagement: Create a portfolio website showcasing your unique photographic work to establish a professional online presence that's independent of social media validation. Begin reducing your reliance on social media platforms by actively seeking genuine engagement with your audience through direct channels like newsletters or local exhibitions.Embrace a Multifaceted Approach to Photography: Invest time in developing additional skills that complement your photography, such as writing or video, which can enhance your storytelling capabilities and marketability. Explore your other interests and hobbies alongside photography. These pursuits can provide fresh perspectives and inspirations, enriching the creative content of your photographic work.Resources:Visit Dan's Website Shifter Media: https://shifter.mediaDan Milnor's YouTube Channel: https://www.youtube.com/@DANIELMILNOR505Learn What Camera Settings to Use in our free guide!https://perfectcamerasettings.com/ Build Your Dream Photography Business and Keep More of the Money You Earn with CloudSpot Studio.And get my Wedding and Portrait Contract and Questionnaires, at no cost!Sign up now at http://deliverphotos.com/Connect with the Beginner Photography Podcast! Join the free Beginner Photography Podcast Community at https://beginnerphotopod.com/group Send in your Photo Questions to get answered on the show - https://beginnerphotopod.com/qa Grab your free camera setting cheatsheet - https://perfectcamerasettings.com/ Thanks for listening & keep shooting!

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

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

On this week's episode, hosts Ben Davis and Kate Brown are joined by the newly-minted Artnet Pro editor and veteran art journalist and critic Andrew Russeth. We're thrilled to have him as a part of our team, and he's making his Art Angle debut with another edition of the Round Up, where we discuss three topics making headlines and sparking conversation in and around the art world. The first subject is the opening of The Dean Collection at the Brooklyn Museum, a show featuring the collection of Swizz Beatz and Alicia Keys titled "Giants," which is generating a lot of buzz for championing the works of Black artists including Kehinde Wiley, Ebony G. Patterson, Jordan Casteel, Henry Taylor, and Hank Willis Thomas, among many, many others. But that's not the only reason it's in the news. Andrew edited a piece by resident Art Detective Katya Kazakina titled "Should Museums Show Art Owned by Patrons? It's Tempting. It Can Also Blow Up" that investigates the fraught history of institutions doing just that. Though Swizz Beatz resigned as a trustee of the Brooklyn Museum three months before the show opened, "Public museums, critics argue, need to guard their curatorial independence and should not be used by wealthy patrons to boost the value of their holdings." The next topic of conversation is about a long-standing issue of ownership and repatriation surrounding an ancestral sculpture from Africa that was bought and sold to the Virginia Museum of Fine Arts, where it has resided since 2015. A recent push by the art collective Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC) has resulted in a temporary loan agreement in which the sculpture will be shown at a local gallery in the Democratic Republic of Congo, and simultaneously live-streamed to the Dutch Pavilion at the Venice Biennale. Finally, on a lighter note, we turn to the recent news of Jeff Koons's art making its lunar landing after hitching a ride on the Odysseus Lander. Koons set a record in 2019 when his mirrored sculpture Rabbit fetched a total of $538.9 million, the most expensive price for a living artist at auction. In recent years though, his market has faltered, and the trio discusses if his moonshot will help send his prices back into the stratosphere.

On this week's episode, hosts Ben Davis and Kate Brown are joined by the newly-minted Artnet Pro editor and veteran art journalist and critic Andrew Russeth. We're thrilled to have him as a part of our team, and he's making his Art Angle debut with another edition of the Round Up, where we discuss three topics making headlines and sparking conversation in and around the art world. The first subject is the opening of The Dean Collection at the Brooklyn Museum, a show featuring the collection of Swizz Beatz and Alicia Keys titled "Giants," which is generating a lot of buzz for championing the works of Black artists including Kehinde Wiley, Ebony G. Patterson, Jordan Casteel, Henry Taylor, and Hank Willis Thomas, among many, many others. But that's not the only reason it's in the news. Andrew edited a piece by resident Art Detective Katya Kazakina titled "Should Museums Show Art Owned by Patrons? It's Tempting. It Can Also Blow Up" that investigates the fraught history of institutions doing just that. Though Swizz Beatz resigned as a trustee of the Brooklyn Museum three months before the show opened, "Public museums, critics argue, need to guard their curatorial independence and should not be used by wealthy patrons to boost the value of their holdings." The next topic of conversation is about a long-standing issue of ownership and repatriation surrounding an ancestral sculpture from Africa that was bought and sold to the Virginia Museum of Fine Arts, where it has resided since 2015. A recent push by the art collective Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC) has resulted in a temporary loan agreement in which the sculpture will be shown at a local gallery in the Democratic Republic of Congo, and simultaneously live-streamed to the Dutch Pavilion at the Venice Biennale. Finally, on a lighter note, we turn to the recent news of Jeff Koons's art making its lunar landing after hitching a ride on the Odysseus Lander. Koons set a record in 2019 when his mirrored sculpture Rabbit fetched a total of $538.9 million, the most expensive price for a living artist at auction. In recent years though, his market has faltered, and the trio discusses if his moonshot will help send his prices back into the stratosphere.

Nester Dudley engages in a candid discussion with Valerie about the controversy surrounding "The Embrace", a bronze statue commemorating Dr. Martin Luther King Jr. and Coretta Scott King. They explore the artist Hank Willis Thomas's background, addressing past allegations of plagiarism and the potential motivations behind the provocative angles in the statue. Is it a deliberate act of artistic expression, or does it hint at opportunism? Discover the layers of this complex controversy as they navigate through the intersections of art, fame, and societal reactions.YouTube: ⁠The Embrace⁠Ⓒ 2023 ⁠⁠PodProEntertainment.com

Nester Dudley engages in a candid discussion with Valerie about the controversy surrounding "The Embrace", a bronze statue commemorating Dr. Martin Luther King Jr. and Coretta Scott King. They explore the artist Hank Willis Thomas's background, addressing past allegations of plagiarism and the potential motivations behind the provocative angles in the statue. Is it a deliberate act of artistic expression, or does it hint at opportunism? Discover the layers of this complex controversy as they navigate through the intersections of art, fame, and societal reactions.

Nester Dudley engages in a candid discussion with Valerie about the controversy surrounding "The Embrace", a bronze statue commemorating Dr. Martin Luther King Jr. and Coretta Scott King.They explore the artist Hank Willis Thomas's background, addressing past allegations of plagiarism and the potential motivations behind the provocative angles in the statue. Is it a deliberate act of artistic expression, or does it hint at opportunism?Discover the layers of this complex controversy as they navigate through the intersections of art, fame, and societal reactions.

Nester Dudley engages in a candid discussion with Valerie about the controversy surrounding "The Embrace", a bronze statue commemorating Dr. Martin Luther King Jr. and Coretta Scott King. They explore the artist Hank Willis Thomas's background, addressing past allegations of plagiarism and the potential motivations behind the provocative angles in the statue. Is it a deliberate act of artistic expression, or does it hint at opportunism? Discover the layers of this complex controversy as they navigate through the intersections of art, fame, and societal reactions. YouTube: ⁠The Embrace⁠Ⓒ 2023 ⁠⁠PodProEntertainment.com⁠

Ep.162 features Hank Willis Thomas (b. 1976 Plainfield, NJ). He lives and works in Brooklyn, NY as a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. His work has been exhibited throughout the United States and abroad including the International Center of Photography, Guggenheim Museum Bilbao, Musée du quai Branly, Hong Kong Arts Centre and the Witte de With Center for Contemporary Art. His collaborative projects include Question Bridge: Black Males; In Search Of The Truth (The Truth Booth); The Writing on the Wall; The Gun Violence Memorial Project; and For Freedoms, an artist-led organization that models and increases creative civic engagement, discourse & direct action. Thomas is a recipient of the Gordon Parks Foundation Fellowship (2019), The Guggenheim Fellowship (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), Aperture West Book Prize (2008), Renew Media Arts Fellowship from the Rockefeller Foundation (2007), and the New York Foundation for the Arts Fellowship Award (2006). He is a former member of the Public Design Commission for the City of New York. Thomas's public artworks include the permanent installation of “The Embrace” (2023) was unveiled at the Boston Commons in Boston, MA, symbolizing love and unity the statue pays hommage to the King family; Dr. Martin Luther King and Coretta Scott King, in the city where they met. “REACH,” (2023 made in collaboration with Coby Kennedy, is permanently installed at O'Hare International Airport in Chicago, IL. In 2019, Thomas unveiled his permanent work "Unity" in Brooklyn, NY. In 2017, “Love Over Rules” permanent neon was unveiled in San Francisco, CA and “All Power to All People” in Opa Locka, FL. Thomas holds a B.F.A. from New York University, New York, NY (1998) and an M.A./M.F.A. from the California College of the Arts, San Francisco, CA (2004). He received honorary doctorates from the Maryland Institute of Art, Baltimore, MD and the Institute for Doctoral Studies in the Visual Arts, Portland, ME in 2017. Headshot~ Hank Willis Thomas, Wide Awakes, 2020 Photo Credit: Jeff Vespa Artist https://hankwillisthomas.com/ Mass Design Group https://massdesigngroup.org/work/design/embrace-hank-willis-thomas Pace Gallery https://www.pacegallery.com/exhibitions/hank-willis-thomas-ive-known-rivers/ The Art Newspaper https://www.theartnewspaper.com/2023/01/16/hank-willis-thomas-martin-luther-king-jr-monument-boston NYTimes https://www.nytimes.com/2023/01/31/arts/super-bowl-sculpture-hank-willis-thomas.html Tisch https://tisch.nyu.edu/giving/news/nyu-tisch-school-of-the-arts-to-honor-conceptual-artist-hank-wil Art21 https://art21.org/watch/art-in-the-twenty-first-century/s11/hank-willis-thomas-in-bodies-of-knowledge/ Hyperallergic https://hyperallergic.com/792677/hank-willis-thomas-memorializes-mlk-and-coretta-scott-kings-love/ Newcity https://www.newcity.com/2023/05/02/today-in-the-culture-may-2-2023-one-poem-one-chicago-hank-willis-thomas-and-coby-kennedy-reach-at-ohare-the-failure-of-the-nonprofit-industrial-complex/ Artnet News https://news.artnet.com/art-world/hank-willis-thomas-nfl-super-bowl-sculpture-2255436 Archpaper https://www.archpaper.com/2023/02/hank-willis-thomas-debuts-new-sculpture-at-super-bowl/ Ocula https://ocula.com/magazine/art-news/hank-willis-thomas-sculpture-the-embrace/ Time Magazine https://time.com/6249068/martin-luther-king-sculpture-hank-willis-thomas-interview/ Cultured Mag https://www.culturedmag.com/article/2023/05/17/hank-willis-thomas-duality-miami Palm Beach Daily News https://www.palmbeachdailynews.com/story/news/2023/01/19/mlk-sculpture-boston-embrace-hank-willis-thomas-coretta-scott-king/69822342007/

'An elephant and a dove'Ira Glass, David Byrne, Ennio Morricone, Joni Mitchell, Susan Orlean, Axel Krygier, Martin Parr, Four Tet, Erol Josue, Hank Willis Thomas, Wheelchair Sports Camp, Radcliffe Bailey, Air, Roddy Frame, Ed Welch, Yoko Kanno, Brian Eno, Kerry James Marshall, The Divine Comedy, DAFNE, The Lemon Twigs, Nina Simone

Through his abstract paintings, the Miami-born, Brooklyn-based artist José Parlá explores themes ranging from memory, gesture, and layering, to movement, dance, and hip-hop culture, to codes, mapping, and mark-making. Coming up in Miami in the late 1980s and early '90s, Parlá spent his adolescence and young adult years steeped in hip-hop culture and an underground scene that involved break dancing, writing rhymes, and making aerosol art. The art form still manifests, in wholly original ways, in his abstract works, which, while decidedly of the 21st century, extend in meaning and method back to ancient wall writings and cave drawings.On the episode, Parlá talks about his recent near-death experience with Covid-19; his activism with the collective Wide Awakes; and how his large-scale murals at locations including the Brooklyn Academy of Music, Barclays Center, and One World Trade Center trace back to his early days of painting elaborate wall works with aerosol.Special thanks to our Season 7 sponsor, Van Cleef & Arpels.Show notes: [07:37] Rey Parlá[11:45] Ciclos: Blooms of Mold[12:19] Augustin Parlá[13:13] Curtiss School of Aviation[14:05] José Martí[16:20] “Phosphene” series[18:27] “Polarities” series[18:32] “Breathing” series[23:25] Wide Awakes[23:26] For Freedoms[23:29] Hank Willis Thomas[23:31] J.R.[23:35] Wildcat Ebony Brown[24:28] “The Awakening”[32:04] “It's Yours”[34:17] Snøhetta[34:45] Ghetto Gastro[36:50] Craig Dykers[36:55] José Parlá's Studio[38:20] James B. Hunt Jr. Library[38:22] “Nature of Language”[38:47] Far Rockaway Writer's Library[56:56] “Brothers Back to Back”[59:51] “Parlá Frères”[01:00:03] Hurricane Andrew[01:00:12] Savannah College of Art and Design[01:01:32] New World School of the Arts[01:01:51] Mel Alexenberg[01:02:29] “Combine” by Robert Rauschenberg[01:06:29] “Gesture Performing Dance, Dance Performing Gesture” at BAM[01:06:30] Barclays Center mural[01:06:32] “One: Union of the Senses” at One World Trade Center[01:06:33] “Amistad América” at the University of Texas at Austin[01:12:08] Gordon Parks fellowship

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/deb_willis_and_hank_willis_thomas_a_mother_and_son_united_by_love_and_art ■Post on this topic (You can get FREE learning materials!) https://englist.me/72-academic-words-reference-from-deb-willis-and-hank-willis-thomas-a-mother-and-son-united-by-love-and-art-ted-talk/ ■Youtube Video https://youtu.be/3zsQY8JTu_w (All Words) https://youtu.be/9TAL5rHKk6A (Advanced Words) https://youtu.be/gSGeKdfLC98 (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

Support the Boston Art Book Fair today! Oliver and Randi talk to Karin Goodfellow, Director of Public Art for the City of Boston.  In that role, she works with artists and other community members on the creation of public memorials, murals, sculptures, and social practice projects that reflect the diversity and cultural values of the people, ideas, histories, and futures of Boston.  In addition to over fifteen years running Boston's public art program, Karin is the Director of the Boston Art Commission, and the founding director of Boston Artists-in-Residence, a residency that has nurtured cohorts of creative partnerships between civic workers and community artists since 2015.   Oliver and Randi sat down with Karin to learn more about her background and the paths that led to her work in the Boston Mayor's Office of Arts and Culture, how she has seen her work evolve over time, and what she's excited about now. And, we got a chance to revisit our excitement over Karin's role in having October 12, 2018 proclaimed Boston Art Book Fair Day in the City of Boston, one of the proudest moments in Boston Art Book Fair history. When: Interviewed May 4, 2023 A few helpful links, to provide context and further information about topics that came up in our conversation.  In particular, we talked about some of the public art and artists in Boston, and about how to access various City of Boston resources and opportunities for artists.  Here you go: Art and Artists: Shepard Fairey Arrested in Boston 2009 Liza Quinoñez in Boston Mayor's Office of Arts and Culture 2023 The Embrace and the 1965 Freedom Plaza, by artist Hank Willis Thomas and MASS Design Group on the Boston Common Tory Bullock Opportunities: Boston Artists-in-Residence Boston Mayor's Office of Arts and Culture Thanks for listening to Weird Sounds: an audio companion to the Boston Art Book Fair!  We look forward to seeing you in person at BCA's Cyclorama November 10-12, 2023 for the fifth Boston Art Book Fair.

The Embrace is a bronze sculpture by Hank Willis Thomas, installed on Boston Common in Boston, Massachusetts, in memory of Dr. Martin Luther King Jr. in December 2022. Mr. Thomas was very bold to create a statue that does not show Dr. King's face, nor does it stand out identifying as Dr. King.  The Embrace statue was costly and is a huge monument of arms and hands holding each other. Mr. Thomas thought it was inspiring too remake the Dr. King and Coretta Scott-King's photo where it took place during a news conference following the announcement that he had been awarded the Nobel Peace Prize.  I speak on how I feel and honestly, you'd have to tune in to hear my truth. here's the link to the monument: Boston unveils "Embrace" sculpture of MLK and Coretta Scott King (nbcnews.com) --- Support this podcast: https://podcasters.spotify.com/pod/show/julia-aka-missbreaker/support

American conceptual artist Hank Willis Thomas joins aja in conversation about what it means to be an artist, the creative process, and the power of branding and advertisements. They also talk about democratizing art for the people and For Freedoms, an artist collective he co-founded that focuses on using art and creativity as a catalyst for liberation.We invite you to leave us a voice memo and answer some of the same questions we ask our guests. Click HERE to leave us a voice message!For more info, check out The Sound Bath Podcast site.Meditative sound bath music from The Dojo Upstate.See omnystudio.com/listener for privacy information.

This is an uncorkable topic. The city of Boston revealed the Martin Luther King Jr. (MLK) and Coretta Scott King statue called The Embrace. This is the artistic expression of Hank Willis Thomas stemming from the photograph of Dr. King and his wife, Coretta in a loving embrace from when MLK won the Nobel Peace Prize in 1964. Art is in the eye of the beholder and a lot of eyes saw sexual connotations. Whether its cheers or jeers, raise your glass to this never-ending conversation piece.  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

After days of transatlantic wrangling and who's-on-first gamesmanship, Ukraine receives a double whammy, with both the United States and Germany publicly pledging to send advanced tanks ahead of a projected Russian spring offensive. The past few days have also brought a corruption scandal out into the open, as Kyiv purges several senior officials, including the deputy defense minister. Tonight, Christiane speaks with his boss, Ukrainian Defense Minister Oleksiy Reznikov.  Also on today's show: Ronen Bergman, Staff writer, The New York Times Magazine; Martin Griffiths, U.N. Under-Secretary-General for Humanitarian Affairs; Rev. Liz Walker, Co-founder, Embrace Boston & Hank Willis Thomas, Artist, “The Embrace.”To learn more about how CNN protects listener privacy, visit cnn.com/privacy

After much listener demand, we've packed our palettes with non-stop art coverage. This week, we take a look at the Yayoi Kusama x Louis Vuitton collaboration, Beyoncé's controversial performance, Sotheby's The Now auction, Old Masters vs. Contemporary Art, Henry Taylor at LA MOCA, The Embrace by Hank Willis Thomas, and more!   ---------- Mentioned in this episode: Hofnung! Hofnung! program in Switzerland Vice - Yayoi Kusama Beyoncé performing for Gadafi's Son Sotheby's The Now Evening Auction Obsessed By the Present, Who's Got Time for Old Masters? Henry Taylor at LA MOCA  

Happy New Year! The Noize is back for more Black art conversations for you. Your boy JBarber can't come back without talking about the biggest thing going in art right now. The Hank Willis Thomas sculpture honoring Martin Luther King and Coretta Scott King. To say the reviews have been mixed is an understatement. JB talks about the piece, all the conversation around it, and what we can take away from it all. We are excited to announce our partnership with Black Art In America and how we will work together to keep bringing you more content and conversations. Listen, subscribe, and share!Episode 157 topics include:Embrace sculpture by Hank Willis Thomasintention versus interpretationpublic criticismconsidering scale as an artistexpectations of art patronssynergy with Black Art In AmericaSend a voice memo of your thoughts about the Embrace sculpture to studionoizepodcast@gmail.com to be included in a future episode of the Noize.See More: Spelman Museum website + Spelman Museum IG @spelmanmuseum Follow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

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Today on Boston Public Radio, the show broadcast live from the unveiling of the Embrace sculpture in downtown Boston. Hosts Jim Braude and Margery Eagan spoke with GBH Morning Edition co-host Paris Alston, who offered reporting from the field; and GBH's Callie Crossley, who provided analysis before and after the unveiling. They also spoke with: Embrace executive director Imari Paris Jeffries; artist Hank Willis Thomas and architect Jonathan Evans; former Governor Deval Patrick and Diane Patrick; Embrace co-founders Paul English, Rev. Jeffrey Brown and Rev. Liz Walker; The Boston Foundation's Lee Pelton; Congresswoman Ayanna Pressley; the NAACP's Michael Curry and Tanisha Sullivan; Governor Maura Healey, Boston Mayor Michelle Wu, and AG-elect Andrea Campbell in conversation together; and members of the King family, Martin Luther King III, Arndrea Waters King, and Yolanda Renee King. The unveiling ceremony, emceed by NBC10 Boston's Latoyia Edwards, began at 1pm. Boston Public Radio anchored live coverage of the historic event for GBH News.

Farai interviews transmedia conceptual artist Hank Willis Thomas and art curator, Rujeko Hockley about building an artistic legacy as life partners, and the role public and collaborative art plays in shaping our society. Then on our roundtable, Sippin' the Political Tea, Farai is joined by Washington Post columnist, Karen Attiah and Entertainment Correspondent for Scripps News, Casey Mendoza to discuss the latest in entertainment and pop culture, including Prince Harry and Duchess Meghan Markle's quest to control their narrative.

The monument, designed by Black artist Hank Willis Thomas, is two stories high, and the plaza's width is about double that. Imari Paris Jeffries, executive director of Embrace said the "scale and magnitude is one of the thing that makes this monument awe-inspiring when you see it."

The artist Hank Willis Thomas is a voracious reader, not only of books, but of the world around us—and particularly, of images. Through his practice, Thomas interrogates and investigates, probes and prods, and ultimately helps make sense of various strands of visual culture—advertising, photographs, videos, clothing and ephemera, monuments—to tell necessary stories and shape new forms of meaning and memory. While Thomas's roots are in the medium of photography, his work also extends far into other realms, including sculpture and memorialization. A prime example of this and a collaboration with MASS Design Group is “The Embrace,” a memorial to the Rev. Martin Luther King Jr. and his wife, Coretta Scott King, that will be unveiled in the Boston Common in January 2023. Another is the Gun Violence Memorial Project, organized with the prevention organizations Purpose Over Pain and Everytown for Gun Safety, and also with MASS. Central to Thomas's art are the subjects of truth and reality (best illustrated by his traveling “Truth Booth” installation, which toured all 50 states in the lead up to the 2016 U.S. presidential election), how they're shaped, and by whom. Many of Thomas's more conceptual projects also tend to be collective. Most notable among these is For Freedoms, an artist-run coalition he co-founded in 2016 as a super PAC that serves as a platform for artists of all kinds to meaningfully contribute to public discourse and help raise political awareness in the United States.On this episode of Time Sensitive, Thomas speaks with Spencer about identity as a figment of our imaginations, race as the “most successful advertising campaign” ever, and quilt-stitching as a metaphor for all that he does.Special thanks to our Season 6 sponsor, L'ÉCOLE, School of Jewelry Arts.Hank Willis Thomas[06:36] “Remember Me” [06:56] “Digging Deeper”[12:12] MASS Design Group[15:27] “The Embrace”[18:02] “Raise Up”[19:27] Gun Violence Memorial Project[23:21] “Unity”[27:59] TED Talk: “A Mother and Son United by Love and Art” [38:31] “Along The Way”[39:08] “Branded”[39:08] “Unbranded”[39:08] “Rebranded”[39:23] “Absolut Power” [43:55] “A Place to Call Home”[44:01] “Question Bridge: Black Males”[47:00] “Truth Booth”[49:01] For Freedoms[49:01] “For Freedoms News”[58:46] “Guernica”

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Emann Odufu speaks to Nancy Baker Cahill about how the blockchain can help turn public art into a new caring economy.

In a world enamored with violent power over others, ensuring security for only some, Christopher Mack shares an alternative empire defying wisdom from those on the margins. [2 Kings 5:1-14] Reflection Where might you glimpse God in the surprises, setbacks, and ordinary moments of your life? How might you listen to the wisdom of the marginalized this week? How can you mirror Jesus' relationship to power and the powerless?   Resources Poem: Start Close In by David Whytehttps://newstoryhub.com/2018/01/start-close-in-david-whyte/ Visual Art: Stars and Bars  by Hank Willis Thomas https://www.artsy.net/artwork/hank-willis-thomas-stars-and-bars Prayer: The Romero Prayer  by Bishop Ken Untenerhttp://www.romerotrust.org.uk/romero-prayer

This episode of the pod kicks off with Lindsay, David, and Elisabeth reflecting on how artworks have changed (or reinforced) their perspectives on what art is, and whether or not Elisabeth is really “auditioning” for the role of co-host. Starting at about 9:00, guest Mary Louise Schumacher kicks off the conversation with a reflection about witnessing Milwaukee artist Roy Staab joyfully re-discovering his own artwork while watching it get destroyed in a storm.  Throughout the conversation, Mary Louise shares about her trajectory from political and technology reporter to art critic, to director of the forthcoming documentary film, Out of the Picture. She reflects on how art critics draw on a much more “embodied” kind of writing than other more objective forms of journalism.   Out of the Picture arose out of asking the question “what does it mean to write about art today?” Turning her camera on the interesting people in the art world who are writing about art, in the process Mary Louise and her team of collaborators ended up documenting extraordinary changes in visual culture and media. Since the beginning of the film, over the last ten years, 'Art” has evolved to include NFTs, social movements, memes and monuments, (oh my!) and visual culture shapes how we see the world more than ever. Out of the Picture raises questions including: how are power and privilege conferred on voices within the art world? And the question of how precious the work of art criticism actually is.  Mary Louise also reflects on how the simultaneous openness, intimacy, and obscurity of the Milwaukee art scene promotes a special kind of artistic thriving, and periods of richness within our arts ecosystem.  She closes with a fantasy edict to instate an Arts & Culture Administrator for the City of Milwaukee to help Art to be more valued in our community.    Instagram: @Marylouises  Due to the unprecedented number of shout-outs contained in this episode, we decided to do our best to represent all of the individuals and entities. Please enjoy the following absurdly long list of links: :  https://www.outofthepicturemovie.com/ (Out of the Picture)   https://www.youtube.com/watch?time_continue=2&v=Ue4q0Twd_So&feature=emb_logo (Sunset Theatre by Sarah Gail Luther)   https://okmke.org/ (Open Kitchen)  https://en.wikipedia.org/wiki/Nature_Belle_(Staab) (Nature Bell by Roy Staab)  https://mam.org/info/quadracci.php (The Quadracci Pavillion)    https://www.linkedin.com/in/nicholaslujero/ (Nicholas Lujero)   https://www.linkedin.com/in/cindy-eggert-johnson/?trk=org-employees&originalSubdomain=be (Cindy Eggert Johnson)  https://www.markescribano.com/ (Mark Escribano)  https://www.thisismilwaukee.us/johnathonolsen (Jonathan Olson)  https://www.corridorfilm.com/ (Corridor the film)  http://katieavilastudio.com/ (Katie Avila Loughmiller)  http://www.naomiwaxman.com/resume (Naomi Waxman)  https://www.lyndensculpturegarden.org/residency/pegi-christiansen-distance (Pegi Taylor Christiansen)  https://www.linkedin.com/in/katie-heil-a75b821a/ (Katie Heil)   https://www.jasper-johns.org/ (Jasper Johns)  https://www.rauschenbergfoundation.org/ (Robert Rauschenberg)  https://latoyarubyfrazier.com/ (LaToya Ruby Frazier)  https://whitecube.com/artists/artist/doris_salcedo (Doris Salcedo)  https://www.hankwillisthomas.com/ (Hank Willis Thomas)  http://postcommodity.com/About.html (The Post Commodity Collective)  https://en.wikipedia.org/wiki/Jerry_Saltz (Jerry Saltz)  https://www.linkedin.com/in/jen-graves-96bb123/ (Jen Graves)  https://www.bostonglobe.com/about/staff-list/staff/jenee-osterheldt/ (Jenee Osterheldt)  https://hragvartanian.com/ (Hrag Vartanian)  https://genreurbanarts.com/ (Genre Urban Arts)  ...

As shifts in power scramble the chessboard, how are our guests reacting to the pace of change? Our interviewees—from critics to museum directors, philanthropists to an astrologer—share their tips for dealing with discomfort. The stakes are high: tune in to hear some of the solutions.  New episodes available every other Wednesday.  For more, follow @artand_media on Instagram / Twitter / LinkedIn / Facebook Guests: Lulani Arquette, Maya Benton, Tim Blum, Roxane Gay, Deana Haggag, Kathy Halbreich, Phyllis Mitz, Dr. Kelli Morgan, Tiffany Sia, Hank Willis Thomas, The Rt Hon Lord Vaizey of Didcot, Hamza Walker and Amy Webb

As shifts in power scramble the chessboard, how are our guests reacting to the pace of change? Our interviewees—from critics to museum directors, philanthropists to an astrologer—share their tips for dealing with discomfort. The stakes are high: tune in to hear some of the solutions.  New episodes available every other Wednesday.  For more, follow @artand_media on Instagram / Twitter / LinkedIn / Facebook Guests: Lulani Arquette, Maya Benton, Tim Blum, Roxane Gay, Deana Haggag, Kathy Halbreich, Phyllis Mitz, Dr. Kelli Morgan, Tiffany Sia, Hank Willis Thomas, The Rt Hon Lord Vaizey of Didcot, Hamza Walker and Amy Webb

Clint Smith, Renée Stout, and Hank Willis Thomas present on the role of history and memory in shaping American culture and identity. This is the third talk of the three-part series "John Wilmerding Symposium on American Art: Afro-Atlantic Histories," which gathers literary and visual artists to reflect on how art responds to and shapes both official and overlooked narratives wrought by the transatlantic slave trade and its legacies. Watch the entire video by Hank Willis Thomas titled “A Person is More Important Than Anything Else…,” commissioned by NY Live Arts for the Year of James Baldwin: https://hankwillisthomas.com/WORKS/Video/2 Watch the lecture: https://youtu.be/oM6_4MmmzJU

Chella Man and Susan Chen are guest hosts: NONPROFIT SILVER ART PROJECTS WELCOMES 25 ARTISTS TO ITS SECOND ANNUAL ARTIST-IN-RESIDENCY COHORT AT THE WORLD TRADE CENTER, NEW YORK CITY 2021 Residency Program to focus on Social Justice and Activism, with support from Mentors-in-Residence Hank Willis Thomas/For Freedoms, Tourmaline, and Chella Man Nearly 700 applications were received in a month long open call. The selection committee included accomplished art world professionals: Isolde Brielmaier, Kimberly Drew, Chella Man, Hall Rockefeller, Hank Willis Thomas, and Tourmaline Co-founders of Silver Art Projects, Cory Silverstein and Joshua Pulman. Courtesy Silver Art Projects. Photo by: Joe Woolhead. July 7, 2021 (New York) – “Following the success of the inaugural cohort, we are looking forward to an impactful second cycle grounded in such a poignant theme”, said Cory Silverstein, co-founder of Silver Art Projects. “Emerging artists are facing more and more obstacles on their paths to success and we at Silver Art Projects are thrilled to again share this inspiring space with 25 visionary individuals.” Joshua Pulman, Co-Founder of Silver Art Projects, commented: “It is our collective mission at Silver Art Projects to transform traditional models of art patronage in New York City to be more accessible and inclusive. Silver Art Projects invited its first artist cohort into the World Trade Center in 2020, during a time when artists needed support more than ever. The inaugural cohort comprised a dynamic group of artists working across a variety of media—from oil painting and digital art to sculpture and design. Members of the 2021 cohort will be guided through their residencies by three renowned artists and Mentors- in-Residence, Hank Willis Thomas/ For Freedoms, Tourmaline, and Chella Man, who will occupy studios alongside the cohort, as well as lead a robust program of 24 workshops designed to further residents' practices and professional development. The overarching goal of the 2021 Mentor-in-Residence program is to amplify diverse perspectives and foster artistic practices embedded in activism. The 2021 Selection Committee comprises a diverse and accomplished jury of six art world professionals who share a vested interest in elevating socially minded creative practices and art activism: the three mentors-in-residence, artists Hank Willis Thomas, Tourmaline, and Chella Man; Hall Rockefeller. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

Michael Murphy believes in architecture that promotes connectivity, collectivity, and health, in the broadest sense of the term. As the founding principal and executive director of MASS Design Group, a 14-year-old nonprofit architecture and design collective with main offices in Boston and Kigali, Rwanda, he creates buildings with the aim of aiding individuals and communities, and addressing complex issues—particularly ones exacerbated by politics and time. In addition to hospitals and health centers around the world, MASS has created schools, public and private housing, farms, campuses, and other projects centered around healing and hope. This focus shines in some of the firm's recent efforts, including MASS's Restorative Design Justice Lab, which seeks to design decarceration, and its Covid-19 Design Response team, which provides resources to vulnerable populations, such as Indigenous communities and those in senior housing. “Design and Healing: Creative Responses to Epidemics,” an exhibition at the Cooper Hewitt (on view through February 20, 2023) that MASS curated and designed, highlights how architecture can serve people in moments of crisis. MASS's work on memorials further illustrates the firm's dedication to creating affecting architecture. The practice's designs for the National Memorial for Peace and Justice (2018) in Montgomery, Alabama; the Gun Violence Memorial Project (2019); and “The Embrace,” a sculpture created with artist Hank Willis Thomas that will rise from the Boston Common this year, offer visceral, multisensory experiences. On this episode, Murphy talks with Spencer about creating a “Slow Space” movement, architecture as a storytelling device, and why the most successful memorials are those that offer tools for collective engagement.Special thanks to our Season 5 sponsor, L'ÉCOLE, School of Jewelry Arts. Show notes:Full transcript[03:15] MASS Design Group[21:30] The Architecture of Health: Hospital Design and the Construction of Dignity[21:30] “Design and Healing: Creative Responses to Epidemics”[22:10] Michael Murphy's 2016 TED Talk [34:30] Restorative Justice Design Lab[44:39] National Memorial for Peace and Justice[44:39] “The Embrace”[47:21] Kigali Genocide Memorial—African Center for Peace[55:18] Gun Violence Memorial Project [01:06:30] Butaro District Hospital

In a series dedicated to tectonic shifts in power in art, why did we wait so long to devote a show to the artists themselves? Well, we wanted to paint a picture of the landscape in which those creators now live and work - and as you've heard, it is complex. In this episode we hear from artists who want to change the system with their own foundations, support networks and big ideas. These are stories of civic and artistic philanthropy that aren't about engraving your name in granite but about changing the system—while making meaningful work. But when that big payday comes knocking, how do you stay true to your dream? Tune in to find out. Guests: Michael Armitage, Jackson Polys, Tiffany Sia, Hank Willis Thomas and Issy Wood

Having examined the pressure mounting on institutions from the street, the public galleries and then from within - this penultimate museum-focused episode asks who'd want to run one? Hosts Charlotte Burns and Allan Schwartzman ask the director of the Met how comfortable that throne really is. Who should run the nation's museums? Who'd want to, amidst a world of shifting certainties? Hope & Dread has the answers. Tune in to find out. Guests: Catherine Arias, Sarah Arison, Fred Bidwell, Deana Haggag, Max Hollein, Sandra Jackson-Dumont, Naima J. Keith, Jill Kraus, Mia Locks, Tiona Nekkia McClodden, Dr Kelli Morgan, Hank Willis Thomas and Amy Webb New episodes available every Wednesday.  For more, follow @artand_media on Instagram / Twitter / LinkedIn / Facebook

Today's episode is with conceptual artist, Hank Willis Thomas. Hailing from the mean streets of Plainfield, NJ… That's a joke, by the way,. Hank's body of work  explores themes related to perspective, identity, commodity, media, and popular culture, Hank is one of the most celebrated artists of his generation.   The son of musician and physicist Hank Thomas, and artist, photographer, historian, curator and educator, Deborah Willis, one could say that art runs though Hanks's veins.  Growing up amongst the stacks of Harlem's Schomburg Library, where his mother served as curator of photographs and as exhibition coordinator, his exposure to the power of images began at an early age.  He went on to study photography and Africana Studies at New York University and later received his masters of fine arts in Photography at California College of the Arts, but it was the blunt force of family tragedy that spurred a turning point in his career; all of a sudden, the photographic frame could no longer contain everything he wanted to say. The execution-style murder of his cousin and best friend, Songha Willis while visiting family over the holidays ripped the Willis family apart, and an image he took of his grieving family, became one of his signature works,  titled “Priceless”. Mimicking the popular MasterCard ads of the era, it crystallizes Hank's artistic lens, the combined effects of consumerism, capitalism, advertising, and their impact on Black life in America.  His work has been exhibited the world over, and is held in the permanent collections of the Museum of Modern Art, The Guggenheim, The Whitney Museum, Brooklyn Museum… you get the idea. He's a recipient of the Gordon Parks Foundation Fellowship and The Guggenheim Fellowship, amongst others, and holds honorary doctorates from the Maryland Institute of Art, and the Institute for Doctoral Studies in the Visual Arts. In today's episode, we discuss the power images hold, the importance of family and especially grandmothers, the illusion of separation, and the invention of race in United States.  This is one of those episodes you'll want to listen to again and again, and if you find this content valuable, be sure to leave us a review over on Apple Podcasts and shout us out over on Instagram at @blackimagination, we love love love to hear from you.  Now, get ready for this powerful tête-à-tête, with the artistic genius of Hank Willis Thomas. Follow Hank on Instagram: https://www.instagram.com/hankwillisthomas (@hankwillisthomas) Hank's Website: https://www.hankwillisthomas.com (www.hankwillisthomas.com)