Podcast appearances and mentions of Jacob Lawrence

"...If you have something that's a unique gift that you know God has given you, then you just specialize on that thing. You just really develop it. You just really spend your time on it, like you plunge your resources into that special that thing... to the point that you're the only one that does it, or you're the only one that does it the way that you do it, or to the level that you do it."In this episode of the Be. Make. Do. podcast, Lisa talks with Jakari Sherman, Founder of Ordered Steps, a nonprofit devoted to stepping as youth outreach and community development. From 2007-2014 Jakari served as the Artistic Director of Step Afrika!, He continues to develop and direct works for the company, including Off-Broadway and national tours of Drumfolk and The Migration: Reflections on Jacob Lawrence, and remains a prolific choreographic mind for the company and beyond. His upcoming work is the premiere of a new multidisciplinary dance work, "Our Road Home" - June 2025; for the commemoration of 160 years since emancipation, and part of a year long collaboration with the Houston Freedmen's Town Conservancy.Jakari emphasizes the importance of innovation, purpose, and community in his work and shares his motivations, including a desire to create in new ways and the challenges of balancing artistic fulfillment with financial stability. Join us for this inspirational conversation.The Maker, The Mystic, The Soul Healer, The Imaginative Visionary, The Prophetic Critic or the Storyteller? What's your archetype? Take the quiz here!You can follow Jakari Sherman on Instagram @justjkcoGet connected to Step Afrika!: WebsiteStay in touch and share your thoughts:TikTok: @bemakedopodcast
Instagram: @bemakedopodcast
Facebook: @bemakedopodcast
YouTube: @BeMakeDoPodcastSubscribe and follow Be.Make.Do. wherever you get your podcasts.

This special episode explores the incredible legacy of businessman and visionary philanthropist Julius Rosenwald. How he was born to German Jewish immigrants, rose to become the President of Sears Roebuck and the meaningful way that his legacy continues to live on and have meaningful impact to this day…! Inspired by the Jewish ideals of tzedakah (charity) and tikkun olam (repairing the world) and a deep concern over racial inequality in America, Rosenwald used his wealth to become one of America's most effective philanthropists. Influenced by the writings of the educator Booker T. Washington, Rosenwald joined forces with African American communities during the Jim Crow era to build 5,300 schools, providing 660,000 black children with access to education in the segregated American South. The Rosenwald Fund also provided grants to support a who's who of African American artists and intellectuals and numerous artists that Eric represents and promotes, including Elizabeth Catlett, Jacob Lawrence, William Artis and others who were greatly helped by Rosenwald Foundation funds.   Featuring Community Leader Roger Smith; Eric's cousin from Virginia - from the very school that Eric's Mother attended that was built thanks to the generosity of Rosenwald that is an historic landmark… They discuss how Dunbar Schoolhouse came about, how the building itself had been assembled and how Roger, alongside his Family have been instrumental in restoring and maintaining the school. Preserving its history through an on-sight museum  — committed to keeping the story of Dunbar Schoolhouse alive..! The various wonderful community programs that they currently run and the significant role that the school plays in the community.  Filmmaker Aviva Kempner joins Eric from Washington. They discuss her feature-length historical documentary about Julius Rosenwald entitled “Rosenwald: A Remarkable Story of a Jewish Partnership with African American Communities” and all the wonderful things she learned in the process of making the film.  They discuss Rosenwald's background and life — the role of his Rabbi and how it motivated his philanthropic efforts… meeting Booker T. Washington and the strong friendship that they forged.  Realizing the need for and power of education as a way to uplift communities and becoming involved in building schools in the rural south. Addressing the needs for housing brought about by the Great Migration, funding the building of housing and YMCAs for African Americans and supporting countess artists and intellectuals including Marian Anderson, James Baldwin, Ralph Bunche, W.E.B. DuBois, Katherine Dunham, Ralph Ellison, John Hope Franklin, Zora Neale Hurston, Jacob Lawrence, Dr. Charles Drew, Augusta Savage, and Langston Hughes. His genius in “matching grants”, the way it made the community feel self-empowered and invested in the mission.  The theory of ‘spending down' and how its principles helped inspire other philanthropic institutions. The unique design and ingenuity of the building construction… the power of community and how his work continues to live on today. They explore what lead to her making movies — from being the daughter of a Holocaust Survivor, a passionate activist and viewing movies as a powerful tool to educate people. The many films she's made throughout her life and is in the process of producing and her dedication to telling stories that celebrate the lives of lesser-known Jewish heroes for over forty years…! For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ART Connect with us ONLINE:  Visit Eric's Perspective website: https://bit.ly/2ZQ41x1 Facebook: https://bit.ly/3jq

Join Artistic Director Erin Helyard for a fascinating journey into the story of Allegri's Miserere. Be transported to the world of 17th century sacred music and discover some of the secrets behind this enigmatic piece of Baroque vocal writing. Featuring: Voiceovers by Jill Halleron Featured Musical Excerpts: Allegri's Miserere excerpt from Pinchgut Opera's concert Splendour of Venice recorded at Phoenix Central Park. https://www.youtube.com/watch?v=cSZW9O2AvWA Falsobordone, the Miserere of Allegri, and a most bizarre musicological error - performed by tenor Jacob Lawrence and Elam Rotem on keyboard. Courtesy of www.earlymusicsources.com - Elam Rotem https://www.youtube.com/watch?v=j9y5N13un9s Castrati Alessandro Moreschi - https://www.youtube.com/watch?v=qch5ZrXL_wA LINKS: Attempts at recreating the Allegri Miserere: Pro Cantione Antiqua / Mark Brown - https://www.youtube.com/watch?v=pPdXtPP0iRM A Sei Voci / Bernard Fabre-Garrus - https://www.youtube.com/watch?v=RuzgsWatoaI Le Poeme Harmonique / Vincent Dumestre -https://www.youtube.com/watch?v=2n_qkjQbdRY Existing documentaries: BBC 4 2008 https://www.youtube.com/watch?v=Yi2n7srJ_v8 Inside the Music: How Allegri's Miserere should really sound https://www.youtube.com/watch?v=h6hD8YtO5HI The Sixteen: a new version of Allegri's Miserere https://www.youtube.com/watch?v=hAwzChKpDi0 Falsobordone, the Miserere of Allegri, and a most bizarre musicological error https://www.youtube.com/watch?v=j9y5N13un9s

In this podcast episode, Rob Lee interviews Justine Swindell, a multidisciplinary artist from Washington, DC. They explore Justine's artistic journey, childhood influences, and creative process. Justine discusses how pressure and activities like deconstructing words spark her creativity. She highlights the role of music and colors in setting the tone for her work. Justine shares the struggles with starting new projects and the impact of rejection. She emphasizes the importance of a clean workspace, setting boundaries, and balancing personal fulfillment with professional success. She also offers advice for emerging artists on defining success and connecting with their audience.Episode Highlights:Discussing multidisciplinary art and personal background (00:02:15) Justine Swindell's description of her multidisciplinary art and personal background.Juggling art and other professions (00:05:28) Discussion on the intersection of art and other professions, and the importance of creativity in problem-solving.Childhood inspirations and early artistic influences (00:11:04) Justine Swindell's childhood inspirations and early artistic influences, including Jacob Lawrence and classic artists.Stimulating creativity with music, colors, and activities (00:18:32) Exploration of the use of music, colors, and activities to stimulate creativity during the ideation phase.Coping with Rejection and Decision Making (00:25:10) Justine reflects on how rejection affects her creative process and her decision-making process in accepting projects.Navigating the Art Business (00:43:57) Justine shares advice for emerging artists on preserving personal practice, defining success, and serving others through art.Key takeaways:1. Childhood Exposure: Visiting museums can profoundly shape a child's creative vision and appreciation for art.2. Creative Process: Allow ideas to naturally percolate and use both digital and physical tools to bring your artistic visions to life.3. Overcoming Blocks: Maintain a clean and intentional workspace to help kickstart your creative process and navigate through rejection.4. Balancing Art Forms: Embrace both digital and physical mediums to keep your creative practice dynamic and fulfilling.Website and Socials:justineswindell.comInstagram: justineswindellartInspired by Justine Swindell's incredible journey and insights?

Episode No. 661 is a holiday clips episode featuring curator Elizabeth Hutton Turner.  Along with Austen Barron Bailly, Turner was the co-curator of “Jacob Lawrence: The American Struggle.” The exhibition, which debuted at the Peabody Essex Museum in Salem, Massachusetts in 2020, presented Lawrence's 1954-56 “Struggle: From the History of the American People.” The series presents a revisionist and pictorial history of the first five decades of the US republic, or what Lawrence called “the struggles of a people to create a nation and their attempt to build a democracy.” The exhibition marked the first time in more than 60 years that the paintings had been together. The excellent catalogue was published by University of Washington Press. Amazon offers it for $45. For images, see Episode No. 435.

This site hosts audio only. To see the video of this special episode, please go to, https://youtu.be/8NdUlrhpjHkMarie is an internationally exhibited painter. Her oil paintings address the tension of urban landscape and the natural world. Inspired by frequent walks through various trails and open spaces in California, her work reveals her observations of the changes and dynamics of nature in the face of the ongoing climate crisis. Engaging notions of abstraction, her work references the surrounding landscape using atmospheric color shifts, fragmented imagery and multiple viewpoints to suggest the ideas of flux, change and instability in the environment. Marie taught painting and color theory at CSULB for 30 years, where she developed an Advanced Studies in Color class.June is a recipient of the COLA Fellowship, the Guggenheim and the California Community Foundation, Fellowship for Visual Artists.  June uses abstract painting to explore how color, repetition, movement, and balance can serve as conduits to spiritual contemplation and interpersonal connection to her African-American roots. Exploring the psychological construct of skin color or tone through pattern and abstract painting has proven to be a revealing gesture and these ideas are explored in her two ongoing series: the Energy Wheel Paintings inspired by her meditation practice and her Flag Paintings, which explore the alignment of multiple identities such as race, nationality, gender, or political leanings.  June's public art works include a Venetian glass mosaic at the Metro Pacific Station in Long Beach Influences: Marie has two main influences: first, the New York abstract school where her formalist abstract artist teachers were students of the pivotal figure in Abstract Expressionism, Hans Hoffman. That experience that has always remained with her. Second, were her teachers Elmer Bishoff and Joan Brown at Berkeley, members of the "second generation" of the Bay Area Figurative Movement. Marie always loved the California painting of Richard Diebenkorn and Wayne Thiebaud and the landscape expanse.June's influences include Varnette Honeywood, Romare Beardon, Jacob Lawrence, Charles White, David Hockney and Alma Thomas. Another influence was the 1976 LACMA show ‘Two Centuries of Black American Art.' These works had a profound, formative impact upon June. Other inspiration/explorations have drawn from cultural and African American historical references, sacred geometry and very recently, the Benin emblem of the river leaf.Find more information at: www.mariethibeault.com  and www.luisdejesus.com/artists/june-edm 

Moving in the Spirit's, co-founder and artistic director Dana Lupton and poet Alice Lovelace discuss their collaborative dance performance “Journey on the A-Train: A Jacob Lawrence Story,” on stage May 8 at the Rialto Center for the Arts. Plus, we'll hear about the Red Clay Comedy Festival, which begins this Thursday at various venues in East Atlanta. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to The Science of Fitness Podcast.In this episode, host Kieran Maguire sits down with SOF Head of Performance Rehab and Head Physio Jacob Lawrence. The month of March marks the 12-month anniversary of our Platinum facility being in operation, so we wanted to take the opportunity to discuss key learnings from Platinum's first year of business and the impact that it's had on the management of sporting-related injuries and rehab.Key topics discussed include: Running a boutique training and rehab facility.Long-term injury management.ACL rehabilitation.

Welcome everyone! Feel free to say hi in the live chat to let us know you're here! If you're new, you can go to www.stpeterschelsea.org and sign up for our weekly email updates or fill out a contact form to find out more information about how to get connected. https://www.stpeterschelsea.org/uploads/5/6/8/7/56870049/bulletin_lent_iv_03.10.2024.pdf Cover Art is from the Harriet Tubman Series (panel #4) by Jacob Lawrence

The words the “Harlem Renaissance” have immense magnetism for vast numbers of people. In art history, however, the Harlem Renaissance has often been treated as a footnote to the main story of 20th century art. It's often been given scant attention in textbooks, and even U.S. museums have historically given more attention to European movements of the 1920s, such as French Surrealism and Russian Constructivism, than to what was happening with Black artists in their own cities. A new exhibition at the Metropolitan Museum of Art, called “The Harlem Renaissance and Transatlantic Modernism,” is out to correct the record. Curated by Denise Murrell, it places the explosion of creativity and experimentation by Black artists from the '20s to the '40s at the center of international art conversation in those years. The 160 works on view range from figures like Aaron Douglas and Jacob Lawrence, whose works have long been celebrated, to a host of less familiar names whose stories are not widely known. There's so much to say about it. To get some perspective on what makes this show such a big deal, art critic Ben Davis spoke to Bridget Cooks. Cooks teaches art history and African American studies at the University of California, Irvine, and is the author of Exhibiting Blackness, an important 2011 book about the history of U.S. museums's relationship to Black artists. Cooks also happens to be one of a star group of experts who was on the Advisory Committee for this Met show. With “The Harlem Renaissance and Transatlantic Modernism” drawing major attention, they talked about both the history of the Harlem Renaissance itself and the history how museums have treated the subject in the past.

The words the “Harlem Renaissance” have immense magnetism for vast numbers of people. In art history, however, the Harlem Renaissance has often been treated as a footnote to the main story of 20th century art. It's often been given scant attention in textbooks, and even U.S. museums have historically given more attention to European movements of the 1920s, such as French Surrealism and Russian Constructivism, than to what was happening with Black artists in their own cities. A new exhibition at the Metropolitan Museum of Art, called “The Harlem Renaissance and Transatlantic Modernism,” is out to correct the record. Curated by Denise Murrell, it places the explosion of creativity and experimentation by Black artists from the '20s to the '40s at the center of international art conversation in those years. The 160 works on view range from figures like Aaron Douglas and Jacob Lawrence, whose works have long been celebrated, to a host of less familiar names whose stories are not widely known. There's so much to say about it. To get some perspective on what makes this show such a big deal, art critic Ben Davis spoke to Bridget Cooks. Cooks teaches art history and African American studies at the University of California, Irvine, and is the author of Exhibiting Blackness, an important 2011 book about the history of U.S. museums's relationship to Black artists. Cooks also happens to be one of a star group of experts who was on the Advisory Committee for this Met show. With “The Harlem Renaissance and Transatlantic Modernism” drawing major attention, they talked about both the history of the Harlem Renaissance itself and the history how museums have treated the subject in the past.

In honor of Black History month, we're revisiting this 2011 conversation with author and 2015 National Humanities Medalist Isabel Wilkerson  In this tuneful podcast, Wilkerson discusses her acclaimed book "The Warmth of Other Suns,"  exploring the profound impact of the Great Migration on American culture. This migration saw six million African Americans relocate from the rural South to the urban North from post-WWI through the 1960s, drastically transforming the country's demographic landscape and cultural output. Wilkerson describes it as a defection from the oppressive Jim Crow laws of the South to the more welcoming, yet challenging environments of the North. This movement was not merely a migration but a quest for political asylum; people were seeking opportunities and freedoms that were systematically denied in the South.  As Wilkerson discusses, one result of the Migration was  a profound merging of cultures, impacting every form of American art - literature, music, theater, and visual arts. Figures like Toni Morrison, Richard Wright, and artists like Romare Bearden and Jacob Lawrence were deeply influenced by their migration experiences, fundamentally altering American culture. She points out that the Great Migration had a monumental impact on music, bringing Southern blues, jazz, gospel, and later, Motown sounds to a national audience. Icons like BB King, Muddy Waters, Louis Armstrong, and companies like Motown Records owe their success and influence to this movement, which also facilitated a cross-cultural exchange that reverberated globally. She argues that music at times served as a bridge, bringing together segregated communities, Black and white, urban and rural, and introducing diverse audiences to the rich and varied cultural expressions of African Americans. Wilkerson also shares her personal connection to the Great Migration, being the daughter of migrants herself. She reflects on how this history shaped her identity, the broader narrative of African Americans in the 20th century, and the nation's art, music, and societal structures.

In honor of Black History month, we're revisiting this 2011 conversation with author and 2015 National Humanities Medalist Isabel Wilkerson  In this tuneful podcast, Wilkerson discusses her acclaimed book "The Warmth of Other Suns,"  exploring the profound impact of the Great Migration on American culture. This migration saw six million African Americans relocate from the rural South to the urban North from post-WWI through the 1960s, drastically transforming the country's demographic landscape and cultural output. Wilkerson describes it as a defection from the oppressive Jim Crow laws of the South to the more welcoming, yet challenging environments of the North. This movement was not merely a migration but a quest for political asylum; people were seeking opportunities and freedoms that were systematically denied in the South.  As Wilkerson discusses, one result of the Migration was  a profound merging of cultures, impacting every form of American art - literature, music, theater, and visual arts. Figures like Toni Morrison, Richard Wright, and artists like Romare Bearden and Jacob Lawrence were deeply influenced by their migration experiences, fundamentally altering American culture. She points out that the Great Migration had a monumental impact on music, bringing Southern blues, jazz, gospel, and later, Motown sounds to a national audience. Icons like BB King, Muddy Waters, Louis Armstrong, and companies like Motown Records owe their success and influence to this movement, which also facilitated a cross-cultural exchange that reverberated globally. She argues that music at times served as a bridge, bringing together segregated communities, Black and white, urban and rural, and introducing diverse audiences to the rich and varied cultural expressions of African Americans. Wilkerson also shares her personal connection to the Great Migration, being the daughter of migrants herself. She reflects on how this history shaped her identity, the broader narrative of African Americans in the 20th century, and the nation's art, music, and societal structures.

Jacob Lawrence's Migration Series was not his only narrative series of paintings, but it was his biggest hit. This collection of 60 painted panels tells the story of The Great Migration as millions of black families moved from the rural South to Northern cities around the time of World War 1. Lawrence was speaking to his experience and the experience of many black Americans in the period between the wars. I think this series resonates with a wide audience because it hits at the hope and the promise of the nation, the tragedy of failures to live up to its promise and ideals, but also the perseverance of hopeful people. As he said in this work, "They kept coming." Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Meet Artist Jacob Lawrence! An Artist Like Me series shares a mix of historical reproductions, photos, and illustrations that showcase the artistic and cultural contributions of Black artists. Using poignant anecdotes and important factual information the readers (ages 6-10) are encouraged to identify with the artists.This book shares with you the art and life of Jacob Lawrence. Inspired by the sights, sounds, and busy streets in his neighbourhood, Jacob used his art to tell stories. An Artist Like Me: Jacob Lawrence https://a.co/d/fRGL8Wx --- Send in a voice message: https://podcasters.spotify.com/pod/show/slothslovetoread/message

In this episode of "The Truth in This Art" podcast, host Rob Lee interviews self-taught painter Esteban Whiteside. They discuss Esteban's journey as an artist, his influences, and his unique approach to merging street art and politics. Esteban shares his experiences with activism through his artwork and offers advice for aspiring artists who want to use their work to make a statement. Tune in for an inspiring conversation at the intersection of arts, culture, and community.

Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Lucy Corin & Deb Olin Unferth about their travels in the Sahara, ancient chickens, disappointments, true love, and why great books are so necessary. Our next episode will feature Melissa Febos & Donika Kelly, out December 22, 2023.   Links Libsyn Blog www.annieliontas.com www.litovelazquez.com https://www.lucycorin.com https://debolinunferth.com LitFriends LinkTree LitFriends Insta LitFriends Facebook   Transcript Annie Lito (00:00.118) Welcome to Lit Friends! Hey Lit Friends!   Lito: Welcome to the show.    Annie: Today we're speaking with Lucy Corin and Deb Olin Unferth, great writers, thinkers, and LitFriend besties.    Lito:  About chickens, the Sahara, and bad reviews.    Annie: So grab your bestie   Annie & Lito: And get ready to get lit!   Lito: You know those like stones that you can get when you're on like a trip to like Tennessee somewhere or something, they're like worry stones? Like people used to like worry them with their thumb or something whenever they had a problem and it would like supposedly calm you down. Well, it's not quite the same thing, but I love how Deb describes her and Lucy's relationship is like, “worry a problem with me.” Like let's, let's cut this gem from all the angles and really like rub it down to its essential context and meaning and understanding. And I think essentially that's what like writers, great writers, offer the world. They've worked through a problem and they have answers. There's not one answer, there's not a resolution to it, but the answers that lead to better, more better questions.    Annie: Yeah, and there's something so special about them because they're, worry tends to be something we do in isolation, almost kind of worrying ourselves into the ground.   Lito: Right. Annie: But they're doing it together in collaboration.    Lito: It's a collaborative worry. Yes, I love that.    Annie: A less lonely worrying.    Lito: It's a less lonely place to think through these things. And the intimacy between them is so special. The way I think they just weave in and out of their lives with each other, even though they're far away from each other.   I think there's a romantic notion that you're tuned into about Lucy and Deb's trip to the desert. Do you want to say something about that? There's a metaphor in it that you really love, right?    Annie: (1:52) Yeah. Well, so I remember when we first talked about doing this podcast and invited them, we were at a bar at AWP, the writer's conference. And they were like, oh, this is perfect. We just went to the Sahara together. And I was like, what? You writers just decided to take a trip together through the desert? And they said, yeah, it was perfect. And they have adorable photos, which we of course are going to share with the world. Um, but it felt like such a, I mean, the fact that they would go on that kind of adventure together and didn't really plan ahead, I think it was just Deb saying, I really want to go to the desert. And Lucy saying, sure, let's go. Which feels very much a kind of metonym of their friendship in some ways.    Lito: Absolutely.    Annie: (2:42) Yeah. That they wandered these spaces together. They come back to art, right? Art is a way for them to recreate themselves and recreate their friendship. And they're doing such different things on the page.    Lito:  Oh yeah, no, they're very different writers but they do share a curiosity that's unique I think in their friendship, then unique to them.    Annie: Yeah and a kind of rigorousness and a love for the word.    Lito: (3:10) Oh and a love for thinking and reading the world in every capacity.    Annie: Tell me about your friendship with Lucy because you're quite close.   Lito: I was at UC Davis before it was an MFA program. It was just a Master's. After undergrad, I went to the master's program because I wasn't sure if I wanted to be an academic or do the studio option and get an MFA. I loved how Lucy and the other professors there, Pam Houston, Yiyun Li, showed us the different ways to be a writer. They couldn't be more different, the three of them. And, I particularly was drawn to Lucy because of her sense of art and play and how those things interact.    Lito: (03:59) And here was someone that was extremely cerebral, extremely intelligent, thinking through every aspect of existence. And yet it was all done through the idea of play and experimentation, but not experimentation in that sort of like negative way that we think of experimentation, which is to say writing that doesn't work, but experimentation in the sense of innovation. And. Lucy brought out my sense of play. I got it right away, what she was going for, that there is an intellectual pleasure to the work of reading and writing that people in the world respond to, but don't often articulate. Lucy's able to articulate it, and I admire her forever for that.    Lito: (4:52) And perhaps I'm not speaking about our friendship, but it comes from a place of deep admiration for the work that she does and the way she approaches life. You have a special relationship with Deb. I would love to hear more about that.    Annie: (5:04) Yeah, I think I've been fangirling over Deb for years. Deb is such a special person. I mean, she's incredibly innovative and has this agility on the page, like almost no other writer I know. Also quite playful, but I love most her humanity. Deb is a vegan who, in Barn 8, brings such life to chickens in a way that we as humans rarely consider. There's an amazing scene which she's like with a chicken 2000 years into the future. Also, I know Deb through my work with Pen City, her writing workshop with incarcerated writers at the Connally Unit, a maximum security penitentiary in Southern Texas.   Lito: How does that work? Is it all by letter or do you go there?    Annie: (5:58) Well, the primary program, you know, the workshop that Deb teaches is on site, and it's certified. So students are getting, the incarcerated writers, are getting now college credit because it's an accredited program. So Deb will be on site and work with them directly. And those of us who volunteer as mentors, the program has evolved a little bit since then, (06:22) but it's kind of a pen pal situation. So I had a chance to work with a number of writers, some who had been there for years and years. And a lot of folks are writing auto-fiction or fiction that's deeply inspired by the places they've lived and their experiences. It's such a special program, it's such a special experience. And what I saw from Deb was just this absolute fierceness. You know, like Deb can appear to be fragile in some ways (06:53.216), and it's her humanity, but actually there's this solid steel core to Deb, and it's about fortitude and a kind of moral alignment that says, we need to do better.    Lito: We have this weird connotation with the word fragile that it's somehow bad, but actually, what it means is that someone's vulnerable. And to me, there is no greater superpower than vulnerability, especially with art, and especially in artwork that is like what she does at the penitentiary. But, can I ask a question?    Annie:  Sure.   Lito: Why is it so special working with incarcerated folks?    Annie: (7:27) Oh, that's a great question. I mean, we need its own podcast to answer it.   Lito: Of course, but just sort of the...    Annie:  I think my personal experience with it is that so many incarcerated writers have been disenfranchised on all levels of identity and experience. Voting rights, decent food, accommodations, mental health, physical, you know, physical well-being. And we can't solve all those problems necessarily, at least all at once, and it's an up, it's a constant battle. But nothing to me offers or recognizes a person's humanity like saying, "tell us your story. Tell us what's on your mind. We are here to hear you and listen."  And those stories and they do come out, you know, there have been other programs that have done this kind of work, they get out in the world and there's, we're bridging this gap of people we have almost entirely forgotten out of absolute choice.  (8:27) And Deb is doing that work, really, I mean she's been doing that work for a long time and finally got some recognition for it, but Deb does it because she's committed.   Lito: That is really powerful. Tell us your story. Tell us your story, Lit Fam. Tell us your story. Find us in all your social media @LitFriendsPodcast or email us at LitFriendsPodcast@gmail.com   Annie: We will read all your stories. We'll be right back with Lucy and   Deb.   Lito: (09:00) And now, our interview with Lucy Corrin and Deb. Lucy Corin is the author of two short story collections, 100 Apocalypses and Other Apocalypses and The Entire Predicament, and two novels, Everyday Psychokillers and The Swank Hotel. In addition to winning the Rome Prize, Lucy was awarded a fellowship in literature from the NEA. She is a 2023 Guggenheim Fellow and a professor of English in the MFA program at UC Davis.    Annie:  Deb Olin-Unferth is the author of six books, including Barn 8, and her memoir, Revolution: The Year I Fell in Love and Went to Join the War, which was a finalist for the National Book Critics Circle Award. Deb is an associate professor in creative writing at the University of Texas at Austin. She founded and runs Pen City Writers, a two-year creative writing certificate program at Connally, a maximum security prison in southern Texas. For this work, she was awarded the 2017 Texas Governor's Criminal Justice Service Award.   Lito: (09:58) Annie and I thought this up a year ago, and we were talking about what is special about literary friendships and how writing gets made, not as we all think, totally solitary in our rooms alone, but we have conversations, at least I think this way. They're part of long conversations with our friends, our literary friends and living and dead, and you know, all times, in all times of history.   But the idea here is that we get to talk to our literary friends and people we admire and writers who are close friends with each other and friendships in which literature plays a large role.   Annie: (10:37) Yeah, and I'll just add that when we first floated the idea of this podcast, you know, your names came up immediately. We're so in awe of you as people and practitioners and literary citizens, and we love your literary friendship. I mean, I really hold it dear as one of the best that I know of personally.    Lucy, I think of you as, you know, this craftsperson of invention who's always trying to undo what's been done and who's such an amazing mentor to emerging writers. And Deb, you know, I'm always returning to your work to see the world in a new way, to see something I might have missed. And I just, I'm so moved by your generosity in your work and in your life's work with Penn City and elsewhere, which I'm sure we'll have a chance to talk more about.   Annie: (11:30) But I think I recall the first day I realized how close the two of you were when Deb told me that you all were taking a trip to the Sahara. And I was like, oh, of course, like, of course, they're going to have desert adventures together. Like, this makes so much sense. So I hope we'll, you know, we'll talk more about that too.    Annie (11:53) But we're so grateful to have you here and to have you in our lives. And we're going to ask you some questions to get to know a little bit more about you.    Deb:  Sounds great.    Lucy: Thanks.    Deb: It's great to be here. It's really great to see everybody.    Lito: Thank you so much for being here. Deb, will you tell us about Lucy?   Deb: (12:16) I mean, Lucy's just one of my very favorite people. And I feel like our friendship just started really slowly and just kind of grew over a period of many years. And some of the things that I love about Lucy is she is, well, of course, she's a brilliant genius writer. Like, I mean, no one writes weird like Lucy writes weird and no one writes like more emotionally, and more inventively and some of her books are some of my favorite books that have ever been written. Especially her last two books I think have just been such just major literary accomplishments and I just hold them so dear.    (13:05) And as a friend some things that I really love about her is that she will worry a problem with me that's just bugging me about like literary culture or about writing or about, you know, just it could be anything about aesthetics at all. And then she'll literally talk to me about it for like five or six days straight without stopping. Like we'll just constantly, dinner after dinner, like, you know, if we're on a trip together, just like all day, like I'll wake up in the morning and I'll be like, here's another piece of that pie. And then she'll say, oh, and I was thinking, and then we'll like go off and work and then we'll come back at lunch and be like, "and furthermore," you know? And by the end, I remember at one point we were doing this and she said, this is a very interesting essay you're writing. And of course, like it wasn't an essay at all, but it was just like a way of thinking about the way that we were talking.   (14:06) And then she is hilarious and delightful and just like so warm. I don't know, I just love her to pieces. She's just one of my favorite people in the whole world. I could say more, but I'll stop right there for a minute.    Annie: Lucy, tell us about Deb.    Lucy: (14:24) Yeah, I mean, Deb, I mean, the first thing, I mean, the first thing you'll notice is that Deb is sort of effortlessly enthusiastic about the things that she cares about. And that's at the core of the way that she moves through the world and the way that she encounters people and the way that she encounters books.   (14:44) I'm more reserved, so I'll just preface what I'm going to say by saying that like, my tone might not betray my true enthusiasms, but I'll try to list some of the things that I think are special and extraordinary about my friend Deb.   One is that there's this conversation that never stops between the way that she's thinking about her own work and the way that she's thinking about the state of the world and the way that she's thinking about the very specific encounters that she's having in daily life. And so like moving through a conversation with Deb or moving through a period of time with Deb in the world, those things are always in flux and in conversation. So it's a really wonderful mind space to be in, to be in her presence.   (15:35) The other thing is that she's like the most truly ethical person that I am close to and in the sense that like she thinks really hard about every move she makes.   The comparison I would make is like you know Deb is like at the core like, the first thing you might notice about Deb's work is that she's a stylist, that she works sentence by sentence and that she always does. But then the other thing she does is that she's always thinking hard about the world and the work, that it never stays purely a love of the sentence. The love of the sentence is part of the love of trying to understand the relationship between words and the world.    (16:15) And, and they're both an ethics. I think it's an ethics of aesthetics and an ethics of trying to be alive in as decent way as you can manage. And so those things feed into the friendship where she's one of the people who I know will tell me what she really thinks about something because we can have a baseline of trust where then you can talk about things that are either dangerous or you might have different ideas about things or you may have conflict.    (16:47) But because of my sense of who she is as a person, and also who she is with me, we can have challenging conversations about what's right about how to behave and what's right about how to write. And that also means that when the other parts of friendship, which are just like outside of literature, but always connected, which, you know, about your own, you know, your other friendships, your, the rest of your life, your job, your family, things like that, that you wanna talk about with your friends. Yeah, I don't know anybody better to sort through those things than Deb.    And it's in part because we're writers, and you can't separate out the questions that you're having about the other parts of your life from who you're trying to be as a writer. And that's always built into the conversation.   Annie: (17:40) I knew we asked you here for a reason.   Lito: We'll be right back.    Lito (17:58) Back to the show.    Annie: I'm hearing you, you know, you're both, you're sort of really seeing one another, which is really lovely. You know, you're, Deb, you're talking about Lucy wearing a problem with you, which I think conveys a kind of strength and... Of course, like I'm quite familiar with Deb's like strong moral anchors. I think we all are and truly respect, but I'm just wondering, what do you most admire about your friend? What do you think they give to the world in light of this portrait that you've given us?   Deb: (18:28) Lucy is a very careful thinker, and she's incredibly fair. And I've just seen her act, just behave that way and write that way for so many years and it just the quality of it always surprises me.  Like I mean, there was a writer, most recently there was a writer who's been cancelled, who we have spent an enormous amount of time talking about and trying to figure out just exactly what was going on there. And I felt like Lucy had insights into what had happened and what it was like on his end and what about his culture could have influenced what happened. Just all of these things that were.   (19:36.202) It was so insightful and I felt like there's no way that I could have moved that moved forward that many steps in my understanding of what had happened. And in my own like how I was going to approach what had happened. Like there's no way I could have done that without that just constant just really careful thought and really fair thought. Just like trying to deeply understand. Like Lucy has an emotional intelligence that is just completely unparalleled. That's one thing I really love about her.    Another thing is that she's like up for anything. Like when I asked her to go to the Sahara with me, I mean, she said yes in like, it was like not even 12 seconds. It was like 3 seconds, I think, that she was like, yeah.   Annie: You need a friend who is just gonna go to the Sahara.    Lucy: Deb, I don't even know if you actually invited me. The way I remember it is that you said something like, Lucy, no one will go to the Sahara with me. And I said, I would go to the Sahara with you.   Lito: That is lovely.   Lucy: (20:53) It's in Africa, right?    Lito:  Was there something specific about the Sahara that you need to go over for?   Deb:  Yeah, I mean, there was. It's a book I'm still working on, hopefully finishing soon. But it's mostly it's like...I just always wanted to go to the Sahara. My whole life, I wanted to go to Morocco, I wanted to go to the Sahara, I wanted to be surrounded by just sand and one line. You look in 360 degrees and you just see one line. I just wanted to see what that was like so badly, stripping everything out, coming down to just that one element of blue and beige. I just wanted that so much. And I wanted to know that it just went on and on and on and on.   (21:48) Yeah, and you know, people talk a big talk, but most people would not go. And so at one point I was just kind of rallying, asking everyone. And then Lucy happened to be in town and I just mentioned to her that this is happening. And then she said, yeah, and then we went for like a long time. Like we went to Morocco for like over three weeks. Like we went for like a month.    Lucy:  A month.    Deb: Yeah, crazy. But she's always like that. Like whatever I want to do, she's just up for it. I mean, and she called me up and she's like, hey, we want to come to Austin and like, go to this place that's two hours from Austin where you can see five million bats, right? Five million bats? Or was it more? Was it like 20 million?    Lucy:  That's right.    Deb: It was like 20 million bats and a lot of them are baby bats. It's like mama bats and baby bats.     Lucy: Yeah, like it's more when there's the babies.   Deb: (22:46) And yeah, and you were like, I want to come with them as the babies. Yeah, we like went and she just like came and Andrea came, and it was just absolutely beautiful.    Lucy: Well, you were just right for that adventure. I knew you would want to see some bats.    Lucy: Well, I could I could say a couple of more things about what Deb gives the world.    Annie: Sure. Love it.    Lucy: So some of the things that Deb gives the world and though when I listen to you talking about me, I realized why these things are so important to me, is that you have a very steady sense of who you are and a kind of confidence in your instincts. That I know that some of the ways that I worry things through are really productive and some of them are just an ability to see why I could be wrong all the time, and that can stymie me.    (23:48) And one of the things that I love about you and the model that you provide for me in my life is an ability to understand what your truth is and not be afraid to hold onto it while you're thinking about other people's perspectives, that you're able to really tell the difference between the way that other people think about things and the way that you do.   And it doesn't mean that you don't rethink things, you constantly are, but when you have a conviction, you don't have a problem with having a conviction. And I admire it enormously. And I think it allows you to have a kind of openness to the world and an openness to people who are various and different and will challenge you and will show you new things because you have that sense that you're not gonna lose yourself in the wind.    Deb: Mmm. That's really nice.   Lito: I am in awe of everything you've said about each other. And it makes me think about how you first met each other. Can you tell us that story? And why did you keep coming back? What was the person like when you first met? And why did you keep coming back to each other? Do you want to tell Lucy?     Lucy: Yeah, I'll start and you can add what I'm missing and... (25:06) tell a different origin story if you want. But I think that what we might've come to for our origin story is that it was one of the, one of the early &Now Festivals. And the &Now Festival is really great.   Lito: Could you say what that is? Yeah, say a little bit about what that is.   Luch: Oh, it's a literary conference that was started to focus on small press and more innovative—is the term that they used at the time anyhow—innovative writing as a kind of response to the market-driven culture of AWP and to try to get people who are working more experimentally or more like on the edge of literary culture less mainstream and give them a place to come together and have conversations about writing and share their work.   So it was one of the early ones of those. But I think it was, I think we figured out that there were like, yeah, there were three women. It was me, you, and Shelley Jackson. But it was, there were not that many women at this conference at the time. And we were, and I think we were noting, noting our solidarity. Yeah. And that, that's what. That's like some of the first images.   But I knew we were like aware of each other because in some ways we have tended to be up for the same jobs—Deb gets them—up for the same prizes—Deb gets them first, I'll get them later. And so I see her as somebody who's traveling through the literary world in ways that are... I mean, we're very different writers, but as people... You know what I mean? But I still... We still actually...come from a lot of the same literary roots. And so it makes sense that there's something of each other in the work that makes us appeal to overlapping parts of the literary world.   Deb: Yeah, I definitely think that there was in our origins, not only do we come from the same sort of influences, and just things that we admired and stuff, but I also feel like (27:28.018) a lot of our early work would have appealed more easily to the exact same people. As we've gotten older, our work isn't quite as similar. We're a little more different than we used to be. But there's still enough there that, you know, you can see a lot of the same people admiring or liking it.   But I was remembering that first time that we met, you playing pool. And we were, so we were like at a bar and you were like, and you were playing pool, and you had like just had a book out with FSG, I think, or something. I don't know if I even had—   Lucy: FC2. Very different.   Deb: FC2. That's right. FC2. And the FC2 editor was there. And I don't think I even had a book out. I don't remember what year this was. But I don't think I had any kind of book out. All I had was I had nothing, you know. And I was just so in awe of FC2 and the editor there, and you there, and like you could play pool, and I can't play pool at all. And it was just, it was—   Annie: Lucy's so cool. Yeah, she was cool. She was cool. And Shelly Jackson was cool. And it was like all the cool people were there and I got to be there, and it was great.   And then, yeah, and then I think how it continued, I don't know how it continued, we just kind of kept running into each other and just slowly it built up into a really deep friendship. Like at some point you would come through town and stay with me.   (29:25.782) And we moved, we both moved around a lot. So for a while there, so we kind of kept running into each other in different places. We've never lived in the same place.   Lucy: No, never.   Lito: How have you managed that then? Is it always phone or is it texting, phone calls?   Lucy: Well, we'll go through a spate of  texting.   Deb: Yeah, we do both. I think I like to talk on the phone.   Lucy: Yeah, I will talk on the phone for Deb.   Annie: The mark of a true friendship.   Lito: (30:01) Time for a break.   Annie Lito (30:12.43) We're talking with Lucy Corin and Deb Olin Unferth.   Lito: How has literature shaped your friendship then? Despite being cool. What kind of books, movies, art do you love to discuss? You can name names. What do you love talking about?   Deb: Well, I remember the moment with Donald Barthelme.   Lucy: That was what I was gonna say.   Deb: No, you go ahead.   Lucy: Well, why don't?   Deb: Oh, okay, you can tell it.   Lucy: I mean, I'll tell part and then you can tell part. It's not that elaborate, but we were, one of the things that Deb and I do is find a pretty place, rent a space, and go work together. And one time we were doing that in Mendocino and Deb was in the late stages of drafting Barn 8 and really thinking about the ancient chickens and the chickens in an ancient space. And we went for a walk in one of those very ferny forests, and Deb was thinking about the chickens and among the giant ferns. And I don't know how it happened, but Deb said something with a rhythm. And we both said to each other the exact line from Donald Barthelme's "The School" that has that rhythm.   (31:34) Is that how you remember it though? You have to tell me if that's how you remember it.   Deb: That's exactly how I remember it. Yeah. And then we like said a few more lines. Like we knew even...    Lito: You remember the line now?   Lucy: I mean, I don't... You do. If you said it, I could do it. I'm just... I was thinking before this, I'm like, oh God, I should go look up the line because I'm not going to get it right, like under pressure. It was just in the moment. It came so naturally.   Deb: It was one of those lines that goes... (32:03) Da da da-da da, da da da-da-da. There's a little parenthetical, it's not really in parentheses in the story, but it might be a little dash mark. But it has, it's something like, "I told them that they should not be afraid, although I am often afraid." I think it was that one.   Deb: I am often afraid. Yeah. And then it was like, we just both remembered a whole bunch of lines like from the end, because the ending of that story is so amazing. And it's, so the fact that we had both unconsciously memorized it and could just like.   And it was something about just like walking under those giant trees and having this weekend together. And like we're like marching along, like calling out lines from Donald Barthelme. And it just felt really like pure and deep.   Annie: It's I mean, I can't imagine anything sounding more like true love than spontaneously reciting a line in unison from Barthelme. And, you know, you both are talking about how your work really converged at the start and that there are some new divergences and I think of you both as so distinct you know on and off the page. There's like the ferociousness of the pros and an eye towards cultural criticism and I always think of you as writing ahead of your time. So I'm just wondering how would you describe your lit friends work to someone, and is there something even after all this time that surprises you about their writing or their voice?   Lucy: I mean, what surprised me recently about Deb's voice is its elasticity. I came to love the work through the short stories and the micros. And those have such a distinct, wry kind of distance. They sort of float a little separate from the world, and they float a little separate from the page.   (34:10) And they have a kind of, they have a very distinct attitude and tone, even if the pieces are different from each other, like as a unit. And that's just really different than the voice that you get in a book like Barn 8 that moves through a lot of different narrators, but that also has just a softer relationship with the world. Like it's a little more blends with the world as you know, it doesn't stay as distant. And I didn't know that until later.   Vacation is also really stark and sort of like has that distinctiveness from the world. And so watching Deb move into, you know, in some ways like just more realistic, more realistic writing that's still voice-centered and that still is music centered was a recent surprising thing for me.   But I'm also really excited about what I've read in the book that in the new book because I think that new book is sort of the pieces that the bits that I've read from it are they're marking a territory that's sort of right down the middle of the aesthetic poles that Deb's work has already hit I mean the other thing is that you know Deb does all the genres. All of the prose genres. Every book sort of is taking on it is taking on a genre And the next one is doing that too, but with content in a way that others have been taking on new genres and form. And so...    Lito: I love that. And I like that it's related to the music of the pros and sound. I feel like musicians do that a lot, right? There's some musicians that every album is a new genre or totally different sound. And then there's artists who do the same thing over and over again. We love both those things. Sorry, so Deb...   Deb: So I love how complicated Lucy can get with just an image or an idea. I just feel like no one can do it the way that she can do it. And my like her last in her last book, which I love so much, we're just brought through all these different places and each one is sort of (36:31.29) dragging behind it, everything that came before, so that you can just feel all of this like, pressure of like the past and of the situations and like even like a word will resonate. Like you'll bring like, there's like a word on maybe page like 82 that you encountered on like page 20 that like the word meant so much on page 20 that it like really, you can really feel its power when it comes on page 80.   And you feel the constant like shifting of meaning and just like the way that the prose is bringing so much more and like it's like reinterpreting that word again and again and again, just like the deeper that you go, like whatever the word is be it you know house or home or stair or um you know sex, whatever it is, it's like constantly shifting. (37:40.952) And that's just part of like who Lucy is, is this like worrying of a problem or worrying of a word and like carrying it forward. And so yeah, so like in that last book, it just was such a big accomplishment. And I felt like it was like her best work yet.   Lucy: So I will say, try and say something a little bit more specific, then. (38:09) Like I guess in the sort of 10 stories that I teach as often as possible in part because I get bored so easily that I need to teach stories that I can return to that often and still feel like I'm reading something that is new to me is the title story from Wait Till You See Me Dance and that story is a really amazing combination of methodical in its execution, which sounds really dull.   But what it does is sort of toss one ball in the air and then toss another ball in the air and then toss another ball in the air. And then, you know, the balls move, but you know, the balls are brightly colored and they're handled by a master juggler. So it's methodical, but it's joyful and hilarious. And then, and then, and you don't   And the other thing is that Deb's narrators are wicked and like they're wicked in the way that like… They are, they're willing to do and say the things that you secretly wish somebody would do and say. That's the same way that like, you know, in the great existential novels, you love and also worry about the protagonists, right? They're troubled, but their trouble allows them to speak truthfully because they can't help it. Or they can't help it when they're in the space of the short story. It's that like, you know, the stories are able to access—a story like this one and like many of Deb's—are able to access that really special space of narrator, of narration, where you get to speak, you get to speak in a whisper.   Annie: You get to speak in a whisper. That's beautiful, Lucy. You get to speak in a whisper.   Lito: We'll be right back.   Lito: (40:15) Welcome back.   Annie: I'm wondering about what this means, you know, how this crosses over to your own personal lives, right? Because of course, literary friendships, we're thinking about the work all of the time. But we're also, you know, when I think of my literary friendship with Lito, I think of him as like a compatriot and somebody who's really carrying me through the world sometimes. I'm wondering if there was for either of you, a hard time that you went through personally, professionally, you know, whether it's about publishing or just getting words on the page or something, you know, um, you know, family related or whatever, where you, um, you know, what it meant to have a literary friend nearby at that time.   Lucy: I mean that's the heart of it.   Deb: Yeah, I mean for sure.   Lucy: One happened last week and I'm sort of still in the middle of it where you know my literary mentor is aging and struggling and so that's painful for me and who gets that? Deb gets that.   The other one, the other big one for me was that the release of my last novel was really complicated. And it brought up a lot of, it intersected with a lot of the things going on in my family that are challenging and a lot of things that are going on in the literary world that are challenging. There were parts of that release that were really satisfying and joyful, and there were parts of it that were just devastatingly painful for me.   And, you know, Deb really helped me find my way through that. And it was a lot, like it was a lot of emotional contact and a lot of thinking through things really hard and a lot of being like, "wait, why do we do this? But remember, why do we do this?" And Deb was the person who could say, "no, you're a novelist." Like things that like I was doubting, Deb could tell me. And the other thing is that I would come closer to being able to believe those things because she could tell them to me.   Annie: Lucy, can you talk a little more about that? Like what did that? (42:27.126) What did that look like, right? Like you talked about resistance to phone calls, and you're not in the same place.   Lucy: It was phone. Right, it would be phone or it would be Zoom or it would be texting. And then, you know, when we would see each other that would be, we would reflect on those times in person even though that wasn't those immediate moments of support and coaching and, you know, wisdom.   Annie:  And that requires a kind of vulnerability, I think, that is hard to do in this industry, right? And I'm just wondering if that was new for you or if that was special to this friendship, right? Or like what allowed for that kind of openness on your part to be able to connect with Deb in that way?   Lucy: I mean, I think I was just really lucky that we've had, like even though we have really, I think, only noticed that we were close since that Morocco trip. Like that was a little bit of a leap of faith. Like, "oh my gosh, how well do I know this person and we're gonna travel together in like circumstances, and do we really know each other this way?" But the combination of the years that we've known each other in more of a warm acquaintance, occasional, great conversation kind of way towards being somebody that you, that you trust and believe and that you have that stuff built in.   And, you know, that over the years you've seen the choices that they've made in the literary world, the choices they've made in their career, when they, you know, everything from, you know, supporting, you know, being a small, being small press identified and championing certain kinds of books over other kinds of books. And like those, just like watching a person make choices for art that you think are in line with the writer that, watching her make choices in art that are in line with the writer that I wanna be in the world makes it so that when you come to something that is frightening, that's the kind of person you wanna talk to because she's done that thinking.   Deb: Yeah, I mean, I feel like there are like so many things that I could say about that. Like one thing is that the kind of time that I spend with Lucy is really different from the kind of time that I spend with most people. Like most people, (44:51) they come to town and I have dinner with them. Or I go to like AWP or whatever and we go out for dinner. Or maybe I spend like one night at their house like with their partner and kid or something, you know. But Lucy and I, we get together and we spend like four days or something all alone, just the two of us, you know, or a month or whatever. And we don't spend a ton of time with other people. And so there's, but then we also do that, but just like not very much.   And so there is something that just creates, like that's a really good mode for me. It's a, that's like the way that I make really deep friendships that are kind of like forever-people in my life. And I've always been like that. And so, but not a lot of people are willing to sort of do that with me. Like, I have so many acquaintances, I've got like a million, I feel like I could have dinner with someone just about any night, as long as it's only like once every few months or something, you know, but I don't have people who are willing to be this close to me, like spend that kind of time with me one-on-one. And the fact is like, they're not that many people that I really feel like doing that with.   And you know, every time Lucy and I do one of these, I just come away feeling like I thought about some really important things and I talked about some really important things and I saw some beautiful things because Lucy always makes sure that we're somewhere where we can see a lot of beauty. And so that just means so much to me. And it's like, and so for me it creates like a space where, Yeah, I can be honest and vulnerable, and I can also tell her, if I can tell her things that I don't tell other people, or I can be really honest with her if I feel like, if I'm giving her advice about something, I can just be honest about it. And so it's really, really nice.   (47:07) I mean, the other thing is like, we're so similar. Like we've made so many similar life choices. And we've talked about that. Lucy and I have talked about that. Like, you know, we both chose not to have kids. We live pretty, like we're both like kind of loners, even though we have partners. Like I think our partners are more like, they just kind of would, they would prefer that we.   I don't know, I shouldn't probably say anything, but I know that Matt would prefer if I was not quite as much of a loner as I am. Yeah, so I look at Lucy and I see the kind of person that I am, the kind of person I wanna be, so if I have a question, I mean, it happens.   Lucy mentioned a couple of things. I have... You know, she's had some pretty major, major things. I have like little things that happen all the time, and they just like bring me to tears.   Like there was this one moment during the pandemic when I was like driving across the country by myself. I was like in Marfa, and I was trying to get to California and I had like a toilet in the back seat. Remember when we were all doing that kind of thing?   Lucy: It was really amazing.   Deb: It was so crazy.   Lucy: But Deb, not everybody had a toilet in their back seat.   Annie: I know. I need that now.   Deb: It still comes in handy.   Annie: I'm sure.   Deb: (48:43) And I was in, and yeah, Lucy is amazing. She'll talk to me on the phone, but Lucy will do because I love to talk on the phone and I love to Zoom. Lucy does not. So she'll tell me in advance, okay, I will talk to you, but it's gonna be for like 20 minutes or I'm gonna have to get off like pretty soon.   But she Zoomed with me and Marfa and I just didn't realize how upset I was about this one rejection that I'd gotten. And it was a really small rejection, I don't know why it bothered me so much, but I just like started crying and like I was like way out in like so many miles from any so many hours from anyone I knew and you know the world was going to shit, and I'd gotten this like tiny rejection from a magazine like a little like I had it was the page was it was like a piece that was like a page long or something, and Lucy just like knew exactly why I I was so upset, and just was able to talk to me about what that meant to me. And just refocus me to like, "look, you don't have to write those. You don't have to be that writer. You don't have to do that." And it was so freeing to know that I didn't always have to be, I don't even know how to describe it, but it was meant a lot. And things like that happen all the time.   Annie: (50:15.265) That's such a wonderful model of mutual support.   Lucy: We'll be right back.   Annie: Hi Lit Fam. We hope you're enjoying our conversation with Lucy Corin and Deb Olin Unferth, and their love for the word, the world, and each other. If you love what we're doing here at LitFriends, please take a moment now  to follow, subscribe, rate, and review our podcasts on Apple Podcasts, Spotify, or wherever you listen to podcasts. Just a few minutes of your time will help us so much to continue to bring you great conversations like this week after week.  Thank you for listening. Back to a conversation with Lucy Corin and Deb Olin Unferth.     Annie: I'm also aware that we're working in an industry that's a zero-sum construct. And, you know, Lucy, you were sort of joking earlier about... Deb winning all of the awards that you later got. But I am curious, like, what about competition between literary friends when we're living in a world with basically shrinking resources?   Lucy: I feel competition, but I don't really feel it with my literary friends. Does that make sense? Like, I'll feel it with my idea of somebody that I don't really know except for their literary profile, right? But when someone like Deb gets something, it makes the world seem right and true, right? And so that's not hard to bear, right? That's just a sign of a good thing in a world that you're afraid isn't so good.   Deb: I guess I feel like if Lucy gets something, then that raises the chances that I'm gonna get something. I'm gonna get the same thing. Because if we're kind of in the same, like we both published with Grey Wolf, we both have the same editor, so we've multiple times that we've been on these trips, we've both been working on books that were supposed to come out with Graywolf with Ethan. (52:16.3) You know, so I feel like if Lucy gets something, then the chances go up.   Like there was just, something just happened recently where Lucy was telling me that she had a little, like a column coming out with The Believer. And I was like, "oh my God, I didn't even know that they were back." I'm like, "man, I really wanna be in The Believer. Like, I can't believe like, you know, they're back and I'm not in them. I gotta be in it. I said that to Lucy on the phone. And then, like the very next day, Rita wrote me and said, "Hey, do you want to write something?"   And so I wrote to Lucy immediately. I was like, did you write to Rita? And she was like, "no, I really didn't." So it's like, we're in the same— Did you, Lucy?   Lucy: No, I didn't! Rita did that all by herself.   Lito: You put it out into the universe, Deb.   Annie: Lucy did it. Hot cut, Lucy did it!   Deb:  So we're like, we're like in the same, I feel a lot of the time like we're kind of in the same lane and so that really helps because like, I do have writer friends who are not in the same lane as me and maybe. Like I'm not as close, but maybe that would be, but if I was as close, maybe that would cause me more confusion. Like I would be like, you know, "geez, how can I get that too? Or it's hopeless, I'll never get that, you know? So I just don't do that thing," or something. So that's really comforting.   Lito: What are your obsessions?   Lucy: Well, I mean-   Lito: How do they show up on the page?   Lucy: I feel like it's so obvious with Deb that like, you know, Deb got obsessed with chickens, and there was a whole bunch of stuff about chickens. First there was a really smart, brilliant Harper's essay where she learned her stuff. And then there was the novel where she, you know, imagined out the chickens (54:19) to touch on everything, right?   Annie: Then there was a chicken a thousand years in advance.   Lucy: Right, and then there's a beautiful chicken art in the house, and there's, you know. And I'm sure that she's gotten way more chicken gifts than she knows what to do with. But then the Sahara, like, you know, she was obsessed with the Sahara and you'll see it in the next book. It's gonna be— It's not gonna be in a literal way, right? But it'll be like, you'll feel the sand, you'll feel that landscape.   So I don't know, like I feel like the obsessions show up in the books. I mean, are there, I mean, this is a question like, Deb, do you think you have obsessions that don't show up in your work? We both have really cute little black dogs.   Deb: (55:07) Oh, not really. I mean, but I do get obsessed. Like I just get so, so like obsessed in an unhealthy way. And then I just have to wait it out. I just have to like wait until I'm not obsessed anymore. And it's like an ongoing just I'm like, OK, here it comes. It's like sleeping over me. Like how many years of my life is going to be are going to be gone as a result of this?   So I'm always like so relieved when I'm not in that space. Like Lucy's obsession comes down to that, with her language, that she's like exploring one idea, like she'll take an idea and she like worries that over the course of a whole book and that she'll just it's like almost like a cubist approach. She'll be like approaching it from so many different standpoints. And that is like, I mean, Lucy is so smart and the way that she does that is just so genius. And so I feel like that's the thing that really keeps drawing me to her obsessions, that keeps bringing me back to that page to read her work again and again. And yeah, and that's how she is in person too.   Lito: Why do you write? What does it do for the world, if anything?   Lucy: (56:37) I know I had a little tiny throat clear, but I think it was because I'm still trying to figure it out because I feel like the answer is different in this world order than it was in earlier world orders. Like when I first answered those questions for myself when I was deciding to make these big life choices and say, "you know, fuck everything except for writing," like I was answering, I was answering that question a different way than I would now, but I don't quite have it to spit out right now, except that I do think it has something to do with a place where the world can be saved. Like, writing now is a place of respite from the rest of the world where you can still have all of these things that I always assumed were widely valued, that feel more and more narrowly valued. And so I write to be able to have that in my life and to be able to connect with the other people who share those kinds of values that are about careful thinking, that are about the glory of the imagination, that are about the sanctity of people having made things.   Annie: Lucy, I need that on my wall. I just need to hear that every day.   Deb: I mean, I feel like if I can think about it in terms of my reading life, that like art changes my mind all the time. Like that's the thing that teaches me. Like I remember when I was a kid, and I lived right near the Art Institute of Chicago, and I remember going in, and they had the Jacob Lawrence immigration panels, migration panels up there that was like a traveling exhibition. And I had none of that information. I did not know about the Great Migration. I just didn't know any of that. So I just remember walking from panel to panel and reading and studying it, (58:47.952) reading it and studying it and just like getting like just getting just it was like a It was such a revelation and I just learned so much and like changed my mind about so many things just in that moment that it was like I'll never forget that.   And I feel like I, I totally agree with Lucy that the reasons that I write now and the reasons that I read now are very different than they were like before, say 2015, or something. But that, that maybe it has its roots in that sort of Jacob Lawrence moment where, you know, just I read these things and it's, I like, I love sinking deep into books that are really changing my mind and like teaching me about the world in ways that I never could have imagined, and I love that so much and I… I don't know if I have that to offer, but I really try hard, you know. Like I tried that with the chicken book. I'm kind of trying that, I hope, in this book that I'm trying to finish and— ha finish!—that I'm trying to get through. And so I think that that's why I think that art is so important.   I don't know if that's truly why I write though. I feel like why I write is that I've always written, and it's like I love it so much. Like I just, sometimes I hate it, sometimes I hate it for like a whole year or whatever, but it's just, it's so much a core of who I am. (01:00:39) And I just, I can't imagine my life any other way. It's just it's just absolutely urgent to me.   Annie: Yeah, urgent. Yeah. I think we all feel that in some way.   Annie:(01:01:04.374) Thank you both for talking to us a little bit about your friendship and getting to know a little bit more about how you started and where you're at now. We're going to move into the lightning round.   Lito: Ooooo Lightning round.   Annie: (01:01:16) Deb, who were you in seventh grade? Who was I in seventh grade? In one sentence, oh my God, the pressure is on. I was unpopular and looked, my hair was exactly the same as it is now. And I wore very similar clothes.   Lucy: (01:01:44) I was a peer counselor, and so I was like the Don who held everybody's secrets.   Lito: Beautiful. Lucy.   Lucy: It saved me. Otherwise, I wouldn't have had a place in that world.   Annie: Makes so much sense.   Lito: Wow. Who or what broke your heart first, deepest?   Lucy: I mean, I would just say my mom.   Deb: I guess, then I have to say my dad.   Annie: Okay, which book is a good lit friend to you?   Deb: Can I say two? The Autobiography of Alice B. Toklas by Gertrude Stein and The Known World by Edward P. Jones.   Annie: Excellent.   Lucy: My go-to is White Noise. Still. Sorry.   Lito: No need to apologize.   Lucy: Yep.   Annie Lito (01:02:27) Who would you want to be lit friends with from any point in history?   Lucy: For me it's Jane Bowles.   Deb: Oh, whoa. Good one. She would be maybe a little difficult. I was gonna say Gertrude Stein, then I was like, actually, she'd be a little difficult.   Lucy: What a jerk!   Deb: I think Zora Neale Hurston would be fun.   Lucy: Well, yeah, of course. For sure.   Annie: We were gonna ask who your lit frenemy from any time might be, but maybe you've already said.   Lucy: Oh, right. I accidentally said my lit frenemy instead of my lit friend.   Annie: Yeah.   Lucy: Mm-hmm.   Deb: (01:03:08) A frenemy from any time?   Annie: Any time. Yeah, it doesn't have to be Jonathan Franzen. I feel like most people will just be like Jonathan Franzen. But it could be any time in history.   Deb: I mean, if you're gonna go that route, then it would probably be, um, like...   Lito: Kierkegaard.   Deb: I don't know, maybe Nietzsche? If you're gonna go that route, if you're gonna go like, like existential philosophers.   Annie: (01:03:34) That's great.   Lito: That could be a podcast too.   Annie: Just like epic frenemy. The most epic frenemy.   Lito: (01:03:35)  Well, that's our show.   Annie & Lito: Thanks for listening.   Annie: We'll be back next week with our guests Melissa Febos and Donika Kelly.    Lito: Find us on all your socials @LitFriendspodcasts   Annie: And tell us about an adventure you've had with your Lit bestie. I'm Annie Liontas.   Lito: And I'm Lito Velazquez.   Annie: Thanks to our production squad. Our show was edited by Justin Hamilton.   Lito: Our logo was designed by Sam Schlenker.   Annie: Lisette Saldaña is our Marketing Director.   Lito: Our theme song was written and produced by Roberto Moresca.   Annie: And special thanks to our show producer Toula Nuñez.   Lito: This was Lit Friends, Episode 2.

Romare Bearden and Jacob Lawrence profoundly shaped the depiction of American history in art through their ambitious and insightful oeuvres. From generating new national traditions through the Harlem Community Art Center to capturing communal experience through paint and collage, they paved the way for subsequent generations of storytellers. In this episode, hear from each artist as they recount the social, political, and artistic currents that guided their paths. Show Notes and Transcript available at www.aaa.si.edu/articulated

This week Alex & Ryan conclude their talk with NYU film professor David Irving, in the second episode of a two-part series where they discuss Tod Browning's 1932 film "Freaks." David Irving is a director whose professional film credits include Night of the Cyclone (1990) with Kris Kristofferson and Marisa Berenson; C.H.U.D. II (1988) with Robert Vaughn and Gerrit Graham; The Emperor's New Clothes (1987) with Sid Caesar and Robert Morse; Sleeping Beauty (1987) with Morgan Fairchild, Tawnee Welch, and Sylvia Miles; Rumpelstiltskin (1987) with Amy Irving and Billy Barty; Goodbye, Cruel World (1983) with Dick Shawn and Cynthia Sikes. His documentary credits include Romare Bearden: Visual Jazz (1995); Jacob Lawrence: The Glory of Expression (1993); Dr. Lorraine Hale: Alive with Love (1992); and Faith Ringgold: The Last Story Quilt (1991). His theatre directing credits include The Man Who Killed the Buddha (1981) by Martin Epstein for the Los Angeles Odyssey Theater; and The Skin of Our Teeth (1981) by Thornton Wilder for the Beverly Hills Playhouse. His credits as producer in film include Home Free All (1982) with Alan Nicholls and The Great Texas Dynamite Chase (1975) with Claudia Jennings for New World Pictures. He has won numerous awards including the Bronze Chris Award for Jacob Lawrence; the Cine Golden Eagle for Faith Ringgold; the L.A. Weekly Award for Direction for The Man Who Killed the Buddha, and the Writers Guild of America Award for The Secret of the Lost Valley (1980). David has also written the award-winning textbook "Producing and Directing the Short Film and Video" and "Fundamentals of Film Directing." He is currently an associate professor at NYU's Tisch School of the Arts. David Irving IMDB Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. MAX launched the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in July 2023. How I Got Greenlit Instagram X Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Alex & Ryan talk with NYU film professor and author David Irving, in the first episode of a two-part series. David Irving is a director whose professional film credits include Night of the Cyclone (1990) with Kris Kristofferson and Marisa Berenson; C.H.U.D. II (1988) with Robert Vaughn and Gerrit Graham; The Emperor's New Clothes (1987) with Sid Caesar and Robert Morse; Sleeping Beauty (1987) with Morgan Fairchild, Tawnee Welch, and Sylvia Miles; Rumpelstiltskin (1987) with Amy Irving and Billy Barty; Goodbye, Cruel World (1983) with Dick Shawn and Cynthia Sikes. His documentary credits include Romare Bearden: Visual Jazz (1995); Jacob Lawrence: The Glory of Expression (1993); Dr. Lorraine Hale: Alive with Love (1992); and Faith Ringgold: The Last Story Quilt (1991). His theatre directing credits include The Man Who Killed the Buddha (1981) by Martin Epstein for the Los Angeles Odyssey Theater; and The Skin of Our Teeth (1981) by Thornton Wilder for the Beverly Hills Playhouse. His credits as producer in film include Home Free All (1982) with Alan Nicholls and The Great Texas Dynamite Chase (1975) with Claudia Jennings for New World Pictures. He has won numerous awards including the Bronze Chris Award for Jacob Lawrence; the Cine Golden Eagle for Faith Ringgold; the L.A. Weekly Award for Direction for The Man Who Killed the Buddha, and the Writers Guild of America Award for The Secret of the Lost Valley (1980). David has also written the award-winning textbook "Producing and Directing the Short Film and Video" and "Fundamentals of Film Directing." He is currently an associate professor at NYU's Tisch School of the Arts. David Irving IMDB Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. MAX launched the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in July 2023. How I Got Greenlit Instagram X Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

On September 7, 1917, legendary painter Jacob Lawrence was born in Atlantic City, New Jersey. He became a pioneer in the realm of African American art and an influential figure in the broader world of modern art. Raised in Harlem, New York, during the cultural explosion of the Harlem Renaissance, he was exposed to a community of artists. This environment served as a wellspring of inspiration for his work, which often depicted the everyday lives of Black people. One of Lawrence's most renowned series of paintings is "The Migration Series," completed in 1941. This collection of 60 paintings masterfully chronicled the Great Migration, a massive movement of African Americans from the rural South to the urban North in the early 20th century. In 1941, Lawrence married painter Gwendolyn Knight. They remained married until his death in Seattle in 2000. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pictured: Toussaint L'Ouverture by Jacob Lawrence This educational video is about renown painter, Jacob Lawrence who was best known for his "Great Migration" series of panels featuring images of African Americans migrating from southern states to the North from 1910 to 1970. --- Send in a voice message: https://podcasters.spotify.com/pod/show/avant-garde-books/message Support this podcast: https://podcasters.spotify.com/pod/show/avant-garde-books/support

In this episode, we step inside the brain of Jacob Lawrence, the head physiotherapist at Science of Fitness.When SOF physio launched, so did a new way to treat clients through our physiotherapy service model. A membership style approach to seeing clients has been implemented aiming to increase adherence and consistency to their rehab journey. None of this would've been possible without Jacob.This creation of a community to assist clients through the rehab journey has been so important for increasing positive outcomes from injuries. We discuss the reason behind this type of service model, the challenges that have come from it but also the massive benefits from this. This is one for everyone.Enjoy and please leave a rating if you enjoyed it!

The Postman is here! We got the esteemed collector Kerry Davis joining the Studio Noize fam. Kerry built his legendary collection while working 30 years as a postman at USPS. How impressive is his collection? Well, it's in the middle of a 5-year national museum tour, and he could have a whole other show from work currently up in his home. The collection includes the biggest names in Black art, from Charles White to Radcliff Bailey, Mo Brooker to Louis Delsarte. The collection alone is enough to discuss, but we go deeper than that. Kerry tells us about the relationships with those names on the wall. Mildred Thomas was his real friend; those personal stories are so great to hear. We talk about how he started touring his collection, got so much incredible work, and all the artists he met and got to know on his journey. Another great episode with that good art talk for you. Listen, subscribe, and share!Episode 176 topics include:-buying art vs collecting art-getting to know artists-Mildred Thomas stories -helping Louis Delsarte in his studio-meeting artists as a postman-organizing a collection-developing an “eye”-touring the Davis collection-how to handle a big collection-appreciating printmaking “It's been called “a museum in a home.” The private collection of art amassed by Kerry and C. Betty Davis over nearly 40 years is one of the richest collections of African American art in the world. The Davises – a retired postal worker and a former television news producer – have invited friends, neighbors, church members and their children's friends into their home to see their art.Now they are sharing their extraordinary collection with a wider audience. “Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art” opens Feb. 4 through May 14 at the Taft Museum of Art.The exhibition features 67 of the more than 300 works that grace their suburban Atlanta home. It includes Romare Bearden's colorful portrayal of a jazz quartet, photographer Gordon Parks documentation of racial disparity and abstract pieces by Sam Gilliam, Norman Lewis and Alma Thomas. The show spans from early Black pioneers, such as Elizabeth Catlett and Jacob Lawrence, to contemporary artists.” -Janelle GelfandSee more: Cinncinnati Business Courier:Retired postal worker, wife share their world-class collection of African American art Presented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

This season, I'm rounding up stories about modern artists in love, in lust, in relationships— digging into these individuals, see how their liaisons, marriages, affairs, and connections played in or on their respective works of art, and how, if anything, they affected art history as we know it. I, for one, believe that it's time for Modern Love. Today: we're enjoying the story of one supremely confident couple, incredibly supportive of one another and individually talented, two makers who epitomized the explosion of creativity that was the Harlem Renaissance, and who helped shape American art. Meet Jacob Lawrence and Gwendolyn Knight. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Sponsor ArtCurious for as little as $4 on Patreon Instagram / Facebook / YouTube SPONSORS: Lume Deodorant: Control Body Odor ANYWHERE with @lumedeodorant and get over 40% off your starter pack with promo code ARTCURIOUS at lumedeodorant.com/ARTCURIOUS! #lumepod Mau Pets: Upgrade your cat furniture stylishly and sustainably at maupets.com. Use our unique link to receive a 5% discount automatically applied at checkout. To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Platemark s3e20, host Ann Shafer talks with Kimberli Gant, curator of Modern and Contemporary Art at the Brooklyn Museum. While Kimberli's specialty isn't in prints per se, she is one of those unusual non-print curators who likes and appreciates prints and incorporates them into her projects.  Among many projects, her work on Jacob Lawrence and his time in Nigeria led to the exhibition, Black Orpheus: Jacob Lawrence and the Mbari Club, which traveled to the Chrysler Museum, the New Orleans Museum of Art, and the Toledo Museum of Art, and unlocks an area of Lawrence's oeuvre that has been overlooked. If you missed the exhibition, Kimberli's beautiful catalogue is worth acquiring. 

If you're interested in learning about the painter who used art to tell the story of important figures and events from Black history and created "The Great Migration" series, then my Jacob Lawrence Black History Facts profile is for you.   Show notes and sources are available at http://noirehistoir.com/blog/jacob-lawrence.

Episode No. 570 features artist vanessa german and curator Kimberli Gant. german is included in "Start Talking: Fischer/Shull Collection of Contemporary Art," an exhibition of gifts to the North Carolina Museum of Art pledged by Hedy Fischer and Randy Shull. The show is on view through February 5, 2023. The Mount Holyoke College Art Museum is presenting "THE RAREST BLACK WOMAN ON THE PLANET EARTH," german's response to the Joseph Allen Skinner Museum, an early 20th-century cabinet of curiosities at Mount Holyoke. The exhibition is in previews through October 12, the artist will perform at the museum on October 13, at which point the show will remain on view through May 28, 2023. german is showing recent work at New York City's Kasmin Gallery in "Sad Rapper" through October 22. With Ndubuisi Ezeluomba, Gant is the co-curator of "Black Orpheus: Jacob Lawrence and the Mbari Club" which is at the Chrysler Museum of Art in Norfolk, Va. through January 8, 2023. The exhibition explores the connection between Lawrence and his contemporaries based in the Global South via the Nigerian journal "Black Orpheus" and the presentation of their work at Nigeria's Mbari Artists & Writers Club. After debuting in Norfolk, the show will travel to New Orleans and Toledo. The exhibition is accompanied by an outstanding catalogue published by Yale University Press in association with the Chrysler and the New Orleans Museum of Art. Indiebound and Amazon offer it for $50. Instagram: vanessa german, Kimberli Gant, Tyler Green. Air date: October 6, 2022.

#OTD Painter Jacob Lawrence, known for his work during the Harlem Renaissance, was born in Atlantic City, NJ.

Tijd. Ik weet wat het is, maar als je me vraagt wat het dan is, dan weet ik het niet - of woorden van gelijke strekking. Aldus Augustinus. Martin Fondse over de wonderlijke werking van de tijd in de muziek van Morton Feldman. En verder: Myriam Marbé (uit de podcastserie Nooit Van Gehoord?!), en eeuwenoude muziek door Le Miroir de Musique. 23.04 CD Mozart en famille (Challenge Classics CC 72902) Wolfgang Amadeus Mozart: ‘Kegelstatt' Trio in Es, KV 498 Sigiswald Kuijken [viool]; Marie Kuijken [fortepiano]; Sara Kuijken [altviool] 2'00” 23.10 Anonymous - Poi che t'hebi nel core – Cantasi come – Fortuna desperata 4'46” Anonymous - Padovana in piva – O Dio ch'a fatto il ciel con la fortuna 2'48” Josquin des Prez (1455-1521) - O Mater Dei 3'07” Le Miroir de Musique https://lemiroirdemusique.com/ Miriam Trevisan, soprano Sabine Lutzenberger, mezzo-soprano http://www.cappellamariana.com/en/ Jacob Lawrence, tenor Cyprien Sadek, baritone Rui Stähelin, bass and lute Elizabeth Rumsey, viola d'arco, Renaissance viola Marc Lewon, lute Baptiste Romain, bowed fiddle, lira da braccio, Renaissance violin & direction 23.20 CD Lumen (Zennez Records ZR2104010) Martin Fondse: Hawa Martin Fondse, Kika Sprangers, Jörg Brinkman 5'18” CD Piano and string quartet (Nonesuch None 7559793 202) Morton Feldman: Piano and string quartet Aki Takahashi [piano]; Kronos Quartet 14'30” 23.43 Myriam Marbé: Humoresque Eugen-Bogdan Popa (cello), Anamaria Biaciu-Popa (piano) www.youtube.com/watch?v=OIAyhPK0JYE tijdsduur: 3'27 23.50 CD Thursday Afternoon (EG EGCD 64) Brian Eno: Thursday Afternoon Brian Eno 10'00”

Het ensemble Le Miroir de Musique zong en speelde op het Sacred Music Festival in Fribourg werken van rond 1500 uit de Veneto (opname European Broadcasting Union). En verder: Een Harp Onder De Riem met Oksana Ivashchenko en Beate Loonstra, en piano-miniaturen van Allan Segall en Charlie Bo Meijering uit de podcastserie 'Bach. En nu?' 23.04 CD Mozart en famille (Challenge Classics CC 72902) Wolfgang Amadeus Mozart: Sonate in C KV 296 Sigiswald Kuijken [viool]; Marie Kuijken [fortepiano] 2'00” 23.10 eigen opname Oksana Ivashchenko; Beate Loonstra: Apocalypso Oksana Ivashchenko, piano en Beate Loonstra, harp. 7'30” 23.20 EBU SM/2022/06/23/01 EBU 20220707 Johannes de Lymburgia (fl. 1400/40) - Recordare frater pie 5'40” Anonymous - O tempo giocundissimo 3'34” Johannes de Lymburgia (fl. 1400/40) - Salve virgo regia 5'40” Le Miroir de Musique https://lemiroirdemusique.com/ Miriam Trevisan, soprano Sabine Lutzenberger, mezzo-soprano http://www.cappellamariana.com/en/ Jacob Lawrence, tenor Cyprien Sadek, baritone Rui Stähelin, bass and lute Elizabeth Rumsey, viola d'arco, Renaissance viola Marc Lewon, lute Baptiste Romain, bowed fiddle, lira da braccio, Renaissance violin & direction 23.37 eigen opname Allan Segall: Prelude in e-minor Jasper Bon [piano] 1'25” eigen opname Charlie Bo Meijering: Variations on a prelude Gerard Bouwhuis [piano] 3'42” 23.50 CD The Shutov Assembly (Opal Records – 9 45010-2) Brian Eno: Lanzarote Brian Eno 8'40”

July 4 is America's celebration of independence from England. In honor of the holiday, I decided to make an episode covering a little bit about 4 artworks from American history. I started with a piece from the people who were here before the Europeans. I discussed a transformation mask from the northwest coast. Specifically, I was looking at work from the Kwakawak. In this episode I also shared about Houdon's neoclassical statue of George Washington, Thomas Jefferson's foray into architecture with Monticello, and Jacob Lawrence's 60 panel collection, The Migration Series. Images of the works can be found on www.whoartedpodcast.com along with Fragonard's painting of The Swing which I mentioned to draw a contrast between neoclassical art and the Rococo movement which came before it. Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Always wanted to visit New York? Well, that's where we're headed today! But this is no 2020s New York City. Nope, we're going to Harlem in the 1930s and 40s to visit the movement called the Harlem Renaissance. A movement that explored African American identity through all the arts, the Harlem Renaissance stands as a testament to artists and artistry. You won't want to miss this handful of creators and creations from this impeccable American movement!   Art: Meta Vaux Warrick Fuller (1877-1968): Ethiopia (1921) James Van Der Zee (1886-1983): Couple, Harlem (1932) Jacob Lawrence (1917-2000): Pool Parlor (1942)   Music (Spotify playlist): William Grant Still (1895-1987): Africa (1930) William L. Dawson (1899-1990): Negro Folk Symphony (1934)   Connect with us! Patreon | Instagram | Facebook | notesandstrokespodcast@gmail.com

An interview with Erin Kelly, Professor of Philosophy at Tufts University, and co-author of "Chasing Me To My Grave: An Artist's Memoir Of The Jim Crow South." The late Winfred Rembert was a New Haven-based artist and master storyteller, in both words and images He documented his life with art, carving scenes from rural Georgia into leather. His sense of design, use of color, and ability to visually tell the story of the often-brutal American black experience have earned him comparisons with such renowned artists as Jacob Lawrence. His autobiography features images of fishing in the culvert or dancing in the juke joint — but also of picking cotton, escaping a lynching, and working on the chain gang. He didn't start his path as an artist until he was 52, but art transformed his life and brought his life story to national attention.

In today's conversation, Dario sits  with fiber artist and storyteller Bisa Butler. Bisa tells the stories of African heritage and American home through an artistry and craft we all know as quilts. Her use of vibrant color and fine fibers reminds us that intentionality, textile, and choice allows our spirits to be known and rendered as portraits suspended in time and stories never forgotten.  In this episode we explore themes of investing in your artistry, the universal human spirit, how a successful artist stays grounded, and Dario's and Bisa's 90s R&B/Hip Hop inspired handmade teen wardrobe  Things we mention Time as a function (and an illusion) of the https://en.wikipedia.org/wiki/Gregorian_calendar (gregorian calendar) https://plato.stanford.edu/entries/negritude/ (Negritude) movement and who are we when ‘universal' seems to naturally mean white  http://kalamu.com/neogriot/2017/05/25/info-the-doom-and-glory-of-knowing-who-you-are-james-baldwin/ (James Baldwin, Doom and Glory of Knowing Who You are, Dostoevsky) Bisa's time studying https://art.howard.edu/ (art at Howard University )included investigating the works and lives of  https://americanart.si.edu/artist/alma-thomas-4778 (Alma Thomas) https://www.elizabethcatlettart.com/bio (Eizabeth Catlett ) https://americanart.si.edu/artist/jacob-lawrence-2828 (Jacob Lawrence)  https://americanart.si.edu/artist/henry-ossawa-tanner-4742 (Henry Tanner ) https://americanart.si.edu/artist/edmonia-lewis-2914 (Edmonia Lewis ) https://www.gordonparksfoundation.org/ (Gordon Parks ) https://americanart.si.edu/artist/james-vanderzee-6593 (James VanDerZee) The beauty and genius of https://jackshainman.com/artists/el_anatsui (El Anatsui)  Episode Playlist and Film List  https://www.youtube.com/watch?v=O01knIMTEpY (A short film (aka video) about time travel as it appeared on Yo! MTV Raps: Here Comes the Hammer by MC Hammer ) https://www.imdb.com/title/tt0110186/ (Jason's Lyric ) https://www.youtube.com/watch?v=FL-pm-xRb40 (I'm so Into you by SWV) https://www.youtube.com/watch?v=PIh07c_P4hc (Ordinary People by John legend)  https://www.instagram.com/bisabutler/ (Bisa Butler on Instagram) All the latest news about Bisa can be found on https://linktr.ee/bisabutler (Bisa's Linktree ) This conversation was recorded on Jan 6, 2022 Host https://www.instagram.com/dario.studio/ (Dario Calmese)  Producer https://www.instagram.com/carmendharris/ (Carmen D. Harris)   Visual Art Direction and Designs:  http://riverwildmen.com/ (River Wildmen), https://www.instagram.com/afrovisualism/ (AfroVisualism), https://www.instagram.com/stlab/?hl=en (Stephane Lab) Original Music composed by http://www.dariocalmese.com/ (Dario Calmese)  Visit us at https://www.blackimagination.com/oral-history (blackimagination.com )

Into America was nominated for a 2022 NAACP Image Award! We're finalists in the Outstanding News and Information Podcast category, and we need your vote. Go to vote.naacpimageawards.net to cast your ballot today.In February 2021, Into America launched Harlem on My Mind, a series that followed four figures from the Harlem Renaissance who defined Blackness for themselves and what it means to be Black in America today.The story began in December 2020, when host Trymaine Lee acquired something he coveted for years: a numbered print titled Schomburg Library by American icon Jacob Lawrence. The print came with a handwritten dedication to a man named Abram Hill. Who was Abram Hill? How did he know Jacob Lawrence? Did their paths cross at the famed Schomburg Library?What followed was a journey of discovery, through conversations with friends, historians and experts, to understand the interconnected lives of Black creators in and around the Harlem Renaissance. And it started with Jacob Lawrence, a child of the Great Migration who was nurtured by the great artists and ideas of the period. Two women who knew Lawrence well, art historian Dr. Leslie King-Hammond and artist Barbara Earl Thomas, reflected on his life, death and contributions to Black culture.As Into America gears up for our 2022 Black History series, Reconstructed – a look at the legacy of the Reconstruction era –we wanted to revisit Harlem on My Mind and share it with you again. Special thanks to the Phillips Collection in Washington, DC and the Los Angeles County Museum of Art. (Original release date: February 4, 2021)Further Listening:Harlem on My Mind: Jacob LawrenceHarlem on My Mind: Arturo SchomburgHarlem on My Mind: Jessie Redmon FausetHarlem on My Mind: Abram Hill

The Harlem Renaissance came during a time of incredible unrest for the Black community in America, due in large part to the Red Summer of 1919. Racial terrorism took place all across America, with the most deadly attack happening in Elaine, Arkansas. Out of that time came artistic legends like writer Langston Hughes, singer Billie Holiday, and painter Jacob Lawrence. In this episode of Undisciplined, host Caree Banton talks with Sharon about the correlation between reckoning and artistry. Sharon is an artist herself, as well as the President of Art Ventures and the Northwest Arkansas African American Heritage Association.

In this episode, Eric speaks with Robert C. Davidson, Jr; successful entrepreneur, art collector and philanthropist. He and Eric discuss his experience as a young boy; growing up in the Jim Crow era of the 1950s in Memphis, Tennessee and how his parents were both entrepreneurs and great inspirations to him: His mother opened a restaurant for black patrons in 1944 after seeing that African American soldiers had nowhere to eat in public. His father opened the first and only black-owned bank, Tri State Bank. They discuss his education and entrepreneurial journey and how, after investing thirty years in business, he turned his attention to art and philanthropy. Mr. Davidson talks about his and his wife's mission in building their art collection; one which Eric deems as one of the greatest African American art collections in the country! Eric and Mr. Davidson delve into the collection; and take us on a journey where they discuss works by Palmer Hayden, Jacob Lawrence, Charles White, Betye Saar, Joshua Johnson, Elizabeth Catlett and Meta Warrick Fuller while offering valuable insight and expertise on purchasing art and building a collection. For more visit: www.ericsperspective.comGuest Bio: Robert C. Davidson, Jr. formed Surface Protection Industries, Inc. (SPI) in 1978. Under his leadership, SPI became one of the largest African American-owned manufacturing companies in California, ranking in the top 100 on the Black Enterprise list of America's top black-owned industrial/service companies.Davidson has a strong entrepreneurial résumé. In the early 1970s, he headed his own management consulting firm and, prior to that, served as chief executive officer of Avant Garde Enterprises, a Los Angeles-based entertainment holding company.In Boston, Davidson co-founded and served as vice president of the Urban National Corporation, a private venture capital company that was established to increase mainstream industry's investment in minority-controlled businesses. The organization raised $10 million in capital from many Fortune 500 companies.The entrepreneurial spirit of Davidson's career path is also reflected in his commitment to community involvement. He is the Chair of the Board of Directors for the Ray Charles Foundation and currently sits on the Board of Directors for the following organizations: Jacobs Engineering Group, Inc. (NYSE); Broadway Federal Bank (NASDAQ); Cedars-Sinai Hospital Los Angeles; University of Chicago Graduate School of Business Advisory Council; The Huntington; and the Smithsonian American Art Museum. He is also Chairman Emeritus at Morehouse College in Atlanta, Georgia. In 1998, Morehouse College honored Davidson, one of its most distinguished alumni, by naming the President's home and its executive center Davidson House. Davidson was the 1997 recipient of the Ronald H. Brown Award and the 1990 recipient of the Raoul Wallenberg Save the Children Award from the Shaare Zedek Medical Center Jerusalem. He was also named Black Businessman of the Year by the Los Angeles Chapter of the Black MBA Association and Outstanding Entrepreneur of the Year by the National Association of Investment Companies. Davidson earned his Bachelor of Arts degree from Morehouse College and his MBA from the University of Chicago. He is a recipient of an Honorary Doctorate of Laws degree from Morehouse College. In 2007, Davidson received the distinguished Benjamin E. Mays Award, which is named in honor of Morehouse College's famous former President. Davidson and his wife, Faye, are parents of three sons, one of whom is an ArtCenter alumnus. The Davidsons are art collectors and Faye is a member of the Pasadena Art Alliance. Davidson joined the ArtCenter Board of Trustees in 2004 and served as Chair of the Board for five-terms (2010-2020). He is the first African American to serve in this role at ArtCenter, and among the first African Americans to assum

Into America continues its Black History Month series, Harlem on My Mind, following four figures from Harlem who defined Blackness for themselves and what it means to be Black in America today. The series begins when Trymaine Lee acquires a signed print by Jacob Lawrence titled “Schomburg Library.”The Schomburg Center for Research and Black Culture is based in Harlem, but its roots are on the island of Puerto Rico with a little Afro Puerto Rican boy named Arturo Schomburg. Determined to collect a record of Black history that could tell us who we are and where we've been, Arturo Schomburg amassed a personal collection of 10,000 Black books, artwork and documents. That collection eventually became the Schomburg Center we know today, which is part of the New York Public Library system. Trymaine Lee speaks with Vanessa Valdés, author of Diasporic Blackness: The Life and Times of Arturo Alfonso Schomburg, Shola Lynch, curator of the Moving Image and Recorded Sound Division of the Schomburg Center, and Arturo Schomburg's grandson, Dean Schomburg to better understand who Arturo was and the impact of his legacy on Black identity and Black culture.For a transcript, please visit https://www.msnbc.com/intoamerica. Thoughts? Feedback? Story ideas? Write to us at intoamerica@nbcuni.comFurther Reading and Listening:Harlem on My Mind: Jacob LawrenceVideo of Arturo Schomburg in the Schomburg's original reading room, courtesy of the Schomburg Center's YouTube pageDiasporic Blackness: The Life and Times of Arturo Alfonso Schomburg by Vanessa Valdés

The Photographer (1942) by Jacob Lawrence; Perspective: A Self-Portrait (1958) by Jasmine Rushbrooke Content Warning: Brief mention of grief and loss of a loved one in relation to Perspective: A Self-Portrait This episode was written, produced, and performed by Nicole Knudsen, with sound design and editing by James Ferrero. Twitter: @thegodfreyguide Instagram: @thegodfreyguide Visit patreon.com/thegodfreyaudioguide for free episode transcripts, and to become a sustaining member of the show. Website: thegodfreyaudioguide.com The Godfrey Audio Guide is produced on unceded Tongva, Chumash, and Kizh territory.

This Black History Month, Into America launches Harlem on My Mind, a series that follows four figures from Harlem who defined Blackness for themselves and what it means to be Black in America today.The story begins in December, when host Trymaine Lee acquires something he coveted for years: a numbered print titled Schomburg Library by American icon Jacob Lawrence. The print came with a handwritten dedication to a man named Abram Hill. Who was Abram Hill? How did he know Jacob Lawrence? Did their paths cross at the famed Schomburg Library?What follows is a journey of discovery, through conversations with friends, historians and experts, to understand the interconnected lives of Black creators in and around the Harlem Renaissance. And it starts with Jacob Lawrence, a child of the Great Migration who was nurtured by the great artists and ideas of the period. Two women who knew Lawrence well, art historian Dr. Leslie King-Hammond and artist Barbara Earl Thomas, reflect on his life, death and contributions to Black culture.Special thanks to the Phillips Collection in Washington, DC and the Los Angeles County Museum of Art. Thoughts? Feedback? Story ideas? Write to us at intoamerica@nbcuni.com Further Reading and Listening:“The World of Jacob Lawrence:” Keynote Address by Dr. Leslie King-HammondA Seattle artist cuts through the chaos of the pandemicAn Interview with Jacob Lawrence

Show Notes and Links to F. Douglas Brown's Work: Douglas Brown at Poets.org Douglas Brown's Website Reading at Writer's Resist 2020 Video-"Poetry and Discernment: An Ignatian Conversation with F. Douglas Brown"   Writers/Texts Mentioned and Allusions Referenced During the Episode:   Doug talks about growing up in San Francisco and being inspired the Bay Area literary and artistic scene, including the great Diane DiPrima, Bob Haas, and his own mother, an artist herself -at about 4:30   Doug talks about his father's outsized influence on him, through his father's charm, gregarious nature, and steadfastness-at about 8:00   Doug reads a poem, “Hard Uncles,” about his father, published in the Virginia Quarterly Review-at about 11:00   Doug describes reciting the above poem in his father's home state of Mississippi at a couple of readings and how special the events were, as well as how “connection” is so crucial in poetry, as demonstrated by poet great Sterling Brown-at about 15:40   Doug talks about his mother's big influence on him, including her artistic and creative nature-at about 17:40   Doug talks about the significance of his full name, passed down from his father, and of course, the iconic abolitionist, Frederick Douglass-at about 21:35   Doug talks about the genesis of his work based on Jacob Lawrence's panels of Frederick Douglass, as well as the role of ekphrasis and the “muse” in Doug's own work and study-at about 24:40   Doug shows some artistic renderings of Frederick Douglass and talks about how he views Douglass and how Douglass has influenced his own work-at about 29:00-33:00 (AROUND THIS TIME, THE AUDIO WOULD BE GREATLY ENHANCED BY BEING ABLE TO SEE THE VISUALS DOUG PUTS UP AND REFERENCES-THEY CAN BE FOUND AT ABOUT 32:50 ON THE YOUTUBE RECORDING HERE) Doug talks about Natasha Trethewey and his admiration for her work-at about 32:00   Doug reads his poem based on Jacob Lawrence's rendering of Frederick Douglass and his overseer: “Mr. Covey, Shall We Dance?”-at about 39:10   Doug talks about chill-inducing writers for him, including the dynamic and uber-talented Tongo Eisen-Martin, recently named San Francisco Poet Laureate, Ross Gay, Natasha Trethewey, Tracy K. Smith, Mahogany Browne, Doug's frequent collaborator, Geffrey Davis, Terrence Hayes, and Kimiko Hahn -at about 43:30   Doug talks about the powerhouse writing collective Cave Canem and its history, mission and accomplishments, including its inception in 1996, founded by Toi Derricotte and Cornelius Eady-at about 47:00   Doug and Pete talk about the brilliant poets Jericho Brown and Amanda Gorman, who recently read at the Biden/Harris Inauguration, as well as Michael Cirelli's help in advancing youth poetry-at about 50:45   Doug talks about Zero to Three, his award-winning poetry collection-at about 53:20   Doug reads “Epistemology of Laundry” and discusses its themes, particularly of the father-son bond-at about 58:20   Doug talks about the Sandra Bland Reading Series, including its ethic of downplaying the artist and lifting up the art, as seen with Amanda Johnston, Jonterri Gadson, Jericho Brown, and Mahogany Browne and their organization, Black Poets Speak Out-at about 1:03:45   Doug talks about his job and vocation as a high school educator and how he is able to integrate his art into the classroom-at about 1:10:30   Doug talks about some favorite texts to teach in his classroom, including the contemporary "To the Notebook Kid" by Eve L. Ewing, and Ocean Vuong's “Someday I'll Love Ocean Vuong”-at about 1:13:45   Doug talks about upcoming projects, including two essays coming out this spring, in the anthology Teaching Black and through the Langston Hughes Center-at about 1:18:00   Doug talks about his DJing and his music influences-at about 1:23:00   Doug talks about mixtapes and their importance in his current DJ crew, with their shared need for mourning lost loved ones, particularly by dedicating poems/music to parents-at about 1:24:30   Pete and Doug resist the “in my day” hip-hop attitude-at about 1:27:45   Pete shouts out the Dissect Podcast, an incredible analysis of one hip-hop album per season, through a “close read”-at about 1:29:35   Doug reads four sonnets that have been written recently, full of allusions and inspired by his DJ crew (sonnet is entitled “A DJ Spins the Blues”); he talks about the significance of the poem and how we honor our parents and their legends-at about 1:31:00

We discuss: - Curating people - Moral Monday marches - Black Wall Street - Wilmington massacre of 1898 - https://en.wikipedia.org/wiki/Wilmington_insurrection_of_1898 - Jacob Lawrence's Migration Series - https://assets.moma.org/documents/moma_catalogue_444_300295430.pdf - Wilmington on Fire (documentary film) - https://vimeo.com/ondemand/wilmingtononfire - The Negro and Fusion Politics in North Carolina, 1894-1901 by Helen Edmonds - https://uncpress.org/book/9780807855492/the-negro-and-fusion-politics-in-north-carolina-1894-1901/ - Battle of Forks Road - https://northcarolinahistory.org/encyclopedia/battle-of-forks-road/ - Wilmington Ten - https://en.wikipedia.org/wiki/Wilmington_Ten - The true story behind the Wilmington Ten by Larry Reni Thomas - https://www.goodreads.com/en/book/show/3810278-the-true-story-behind-the-wilmington-ten - The Fire of Freedom, Abraham Galloway and the Slaves' Civil War - https://uncpress.org/book/9781469621906/the-fire-of-freedom/ - The Second Founding, How the Civil War and Reconstruction Remade the Constitution, by Eric Foner - https://wwnorton.com/books/9780393358520 - Grandfather clause - https://en.wikipedia.org/wiki/Grandfather_clause - Maestro William Henry Curry - https://www.wunc.org/post/born-conduct-meet-maestro-curry - William Paul Thomas - http://www.williampaulthomas.com/ - Pete Sack - http://petesack.com/ - The Education of Blacks in the South, 1860-1935 by James D. Anderson - https://uncpress.org/book/9780807842218/the-education-of-blacks-in-the-south-1860-1935/ - The Front Lines short film - https://www.blackonblackproject.com/the-front-lines-film - Black Reconstruction, Book by W. E. B. Du Bois - http://www.webdubois.org/wdb-BlackReconst.html - What Truth Sounds Like: Robert F. Kennedy, James Baldwin, and Our Unfinished Conversation About Race in America by Michael Eric Dyson - https://us.macmillan.com/books/9781250295927 - Inhuman Bondage: The Rise and Fall of Slavery in the New World, by David Brion Davis - https://www.goodreads.com/book/show/178670.Inhuman_Bondage - A People's History of the United States by Howard Zinn - https://www.goodreads.com/book/show/2767.A_People_s_History_of_the_United_States - Slave Patrols: Law and Violence in Virginia and the Carolinas by Sally E. Hadden - https://www.hup.harvard.edu/catalog.php?isbn=9780674012349   https://www.blackonblackproject.com/about https://www.michaelsherroidwilliams.com/   Hosted by Matthew Dols http://www.matthewdols.com

The exhibit Jacob Lawrence: The American Struggle is an American epic--depicting moments in early American history from 1775 thru 1817--some well-known, others not-- often seen through the eyes of marginalized peoples. Struggle consists of 30 panels painted by Lawrence during the early 1950s during Joseph McCarthy's Red Scare and the beginning of the Civil Rights movement. Lawrence is well-known for painting the everyday life as well as epic narratives of African-American history and historical figures—think of The Migration Series. But with Struggle, Jacob Lawrence presented a radically integrated view of early American history—one in which African-Americans and Native Americans were woven into heart of the nation's story. Yet, Lawrence also incorporates their particular struggles into the work as he examines the messy work of making a democracy. The exhibition, Jacob Lawrence: The American Struggle reunites most of the 30 panels in the series for the first times in over 60 years. Organized by and first exhibited at the Peabody Essex Museum in Massachusetts, it is now at the Metropolitan Museum of Art–with support from the National Endowment for the Arts--where it was co-curated by Sylvia Yount, Lawrence A. Fleischman Curator in Charge of the American Wing and Randall Griffey a Curator in the Department of Modern and Contemporary Art. Sylvia Yount and Randall Griffey join me for a deep-dive into the work of Jacob Lawrence in general and Struggle in particular, his great belief in the past as critical to the present, and the ways that the work of Jacob Lawrence continues to shed light on the moment we find ourselves.

Art Wolfe on Planning Ahead & Taking Action, Entrepreneurship, Dissecting Inspiration & Publishing Multiple Books.Art Wolfe (@artwolfe | artwolfe.com) Art Wolfe was born on September 13, 1951 in Seattle, Washington, and still calls the city home. He graduated from the University of Washington with Bachelor's degrees in fine arts and art education in 1975, where he studied under professors such as Jacob Lawrence. His photography career has spanned five decades, a remarkable testament to the durability and demand for his images, his expertise, and his passionate advocacy for the environment and indigenous culture. During that time he has worked on every continent, in hundreds of locations, and on a dazzling array of projects.Wolfe's photographic mission is multi-faceted. By employing artistic and journalistic styles, he documents his subjects and educates the viewer. His unique approach to photography is based on his training in the arts and his love of the environment. His goal has always been to win support for conservation issues by “focusing on what's beautiful on the Earth.” Hailed by William Conway, former president of the Wildlife Conservation Society, as “the most prolific and sensitive recorder of a rapidly vanishing natural world,” Wolfe has created millions of images in his lifetime and travels nearly nine months out of the year photographing for new projects, leading photographic tours and seminars, and giving inspirational presentations to corporate, educational, conservation, and spiritual groups.Long before the genre of ‘conservation photography' was conceived, Wolfe was practicing it. In 1997 he created a conservation-themed photography contest as “an event for the advancement of photography as a unique medium capable of bringing awareness and preservation to our environment through art.” The contest culminated in 2012 in which the International Conservation Photography Awards drew entries from around the world and was exhibited and traveled by The Burke Museum of Natural History and Culture in Seattle.In 1978 he published his first book Indian Baskets of the Northwest Coast with the late Dr. Allan Lobb, a close friend and mentor, who also gave Wolfe a start by putting the young photographer's work into patients' rooms at Swedish Medical Center. Wolfe was soon photographing for the world's top magazines such as National Geographic, Smithsonian, Audubon, GEO, and Terre Sauvage. Magazines all over the world publish his photographs and stories, and his work is licensed for retail products and advertising, as well as products such as USPS stamps, of which he has three.Numerous US and international venues have featured monographs of his work as well his traveling exhibitions, Earth Is My Witness, Travels to the Edge, and Beyond the Lens. He has had four major exhibitions at Seattle's Frye Art Museum, including One World, One Vision. Today his work is available online at www.artwolfe.com and at the Carnevale Gallery inLas Vegas.Since 1988 he has published at least one book a year—1997 alone saw seven titles in the United States and abroad. He has released over 100 books in eight languages, including the popular titles The New Art of Photographing Nature and The Art of the Photograph, Vanishing Act, and award-winning titles Human Canvas, The High Himalaya, Water: Worlds between Heaven & Earth, Tribes, Rainforests of the World, Pacific Northwest – Land of Light and Water, as well as numerous children's titles, including O is for Orca and Animal Action Alphabet. Graphis included his books Light on the Land and the controversial Migrations on its list of the 100 best books published in the 1990s.In 2000 he formed Wildlands Press and subsequently published his signature work: The Living Wild, which has more than 70,000 copies in print worldwide and garnered awards from the National Outdoor Book Awards, Independent Publisher, Applied Arts and Graphis; Africa (2001) and Edge of the EarthCorner of the Sky (2003), both of which captured significant publishing awards, including IPPY (Independent Publishers), Benjamin Franklin (Publishers MarketingAssociation), and National Outdoor Book Award.In 2014 Wolfe began a publishing relationship with Earth Aware Editions. This has resulted in numerous award-winning books including the encyclopedic Earth Is My Witness, also published in German, French, and Italian language editions by National Geographic; an all-new edition of Migrations, and in 2018 the Nautilus Award-winning Trees: Between Earth and Heaven. 2019 will see the publication of Wild Elephants: Conservation in the Age of Extinction and the trade edition of Human Canvas.Wolfe has ventured into the world of television production with On Location with Art Wolfe, Techniques of the Masters and as host of American Photo's Safari, which aired on ESPN 1993-1995. In May 2007 Art made his public television debut with the high definition series Art Wolfe's Travels to the Edge, an intimate and upbeat series that offers unique insights on nature, culture, and the realm of digital photography. The thirteen-episode first season garnered American Public Television's 2007 Programming Excellence Award—unprecedented for a first season show. The thirteen-episode second season garnered five Silver Telly Awards, their highest honor, for outstanding achievement. It has been broadcast hundreds of thousands times in the United States on PBS and CreateTV affiliates and in global syndication, and on Amazon Prime. Wolfe is the on-screen talent for two of the six episodes of Season I of Tales By Light, first airing in 2015 in Australia and New Zealand and now in distribution on Netflix. The show was produced by Canon Australia and National Geographic Channel in conjunction with Untitled Film Works.Education is a major component of Wolfe's work, whether it is about the environment or about photography. He leads photographic tours worldwide as well as regularly giving the groundbreaking Photography as Art seminar. He has been a Phase One Digital Artists Series instructor, and is collaborating with two of the most renowned nature photographers inthe world, Frans Lanting and Thomas Mangelsen, on the Masters of Nature Photography workshops.Wolfe is in demand as a keynote speaker around the world, giving talks. His presentations brim with humor and anecdotes. They deliver both an environmental message and the promise that following dreams with determination will lead to a well-lived life. He illustrates his presentations with inspiring, awarding-winning photography displaying an astonishing array of subjects, from intense wildlife images and landscapes to intimate views of cultures almost untouched by civilization.Along with his numerous book and television awards, Wolfe is the proud recipient of the Nature's Best Photographer of the Year Award, the North American Nature Photography Association's Lifetime Achievement Award and the Photographic Society of America's Progress Medal for his contribution to the advancement of the art and science of photography; he has been awarded with a coveted Alfred Eisenstaedt Magazine Photography Award. The National Audubon Society recognized Wolfe's work in support of the national wildlife refuge system with its first-ever Rachel Carson Award. In 1999 he was named to the UW Alumni Association's magazine list of 100 “most famous, fascinating and influential” alumni of the 20th century. He is the Honorary Chair of Washington Wild, a member of the American Society of Media Photographers; he is an Honorary Fellow of the Royal Photographic Society, a Fellow of the International League of Conservation Photographers, a Member National of The Explorers Club, a Paul Harris Fellow of The Rotary Foundation, and has served on the advisory boards for the Wildlife Conservation Society. Wolfe has been a member of Canon's elite list of renowned photographers Explorers of Light, Microsoft's Icons of Imaging, Fujifilm's Talent Team, and Nikon's NPS Pros.Wolfe maintains his office, stock agency, and production company in Seattle.Please enjoy!***If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It takes less than 60 seconds, and it really helps makes a difference in helping to convince hard-to-get guests.Follow Matthew:Twitter: twitter.com/matthewdawalker Instagram: instagram.com/matthewdawalker

Today we're talking with Jacob Lawrence, CEO of iMakeWorkFun (@imakeworkfun) about how to work from home and how to make the most out of this Stay At Home Order. We also invite you to join the Mentally Fit community on Facebook Groups! Fb.com/groups/learndbt

At UNTITLED, ART San Francisco, Leigh Raiford, Associate Professor of African American Studies at the University of California, Berkeley, conversed with gallerist Michael Rosenfeld to discuss Michael Rosenfeld Gallery's curated presentation of artists exhibited in "Soul of a Nation: Art in the Age of Black Power 1963–1983." The gallery's booth presentation at UNTITLED, ART San Francisco will included works by such seminal artists as Frank Bowling, Ed Clark, Sam Gilliam, Jacob Lawrence, Norman Lewis, Betye Saar, and William T. Williams, among others. The conversation ranges in topics, from the prominence of abstraction in Soul of a Nation, the place of Africa in African American art, and the gallery's long history exhibiting Black artists as well as the "discovery" of many older Black artists in today's contemporary artworld. James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation.

Art critic Alastair Sooke, in the company of some of the leading creatives of our age, continues his deep dive into the stunning works in the Museum of Modern Art's collection, whilst exploring what it really means “to see” art. Today's edition features the choice of American lawyer and social justice activist Bryan Stevenson. He has chosen The Migration Series, a set of paintings by African-American painter Jacob Lawrence. Depicting the migration of African Americans to the northern United States from the South that began in the 1910s, this a moving piece for Bryan Stevenson - but what does a civil rights lawyer see in the work that others might not? Producer: Tom Alban. Main Image: Jacob Lawrence, And the migrants kept coming, 1940-41. Casein tempera on hardboard, 12 x 18" (30.5 x 45.7 cm). Gift of Mrs. David M. Levy. Museum of Modern Art, NY, 28.1942.30. © 2019 Jacob Lawrence / Artists Rights Society (ARS), New York

Black Mountain College's Legacy - The experimental college that was located outside Asheville had an outsized influence on American arts and culture. One of its many breakthroughs was inviting renowned African American artist Jacob Lawrence to become a summer teacher there at a time when Jim Crow was very much in force in North Carolina. Darin Waters and Marcus Harvey talk with the executive director of the Black Mountain College Museum, Jeff Arnal, about preserving the legacy of the school.