Podcast appearances and mentions of Kehinde Wiley

If you've ever considered dipping your toes into a creative field, tune in to hear the journey of Ayanah George, a digital and film photographer who masterfully bridges the worlds of engineering and photography.  From mastering double exposure techniques to embracing the beautiful imperfections of film photography, she shares intimate insights into her creative evolution. Ayanah discusses how she built a thriving side business while staying true to her artistic voice. This episode offers a glimpse into how technical precision and artistic vision can merge to create something extraordinary while highlighting the transformative power of self-belief in pursuing creative passions. In This Episode, You'll Learn: How Ayanah transitioned from engineering to photography while juggling her day job. The inspiration she draws from Kehinde Wiley's powerful depictions of people of color. Techniques for experimenting with double exposure and the minimal editing required for film photography. The evolution of her photography style and how she captures intentional and elevated portraits. The importance of self-confidence and exposure to art in fueling creative growth. Ayanah's approach to travel photography, selling prints, and exploring new opportunities for assignments. The value of community, collaboration, and continuous learning in the creative field. Episode Chapters 00:00 Introduction to Ayanna George's Creative Journey 01:53 Early Influences and Exposure to Photography 04:12 Building a Photography Career While Balancing Engineering 08:27 Developing a Personal Style in Portraiture 11:48 Travel Photography: Capturing the Essence of Places 17:11 Transitioning from Weddings to Portraits 19:05 Inspiration from Kehinde Wiley and Double Exposure Techniques 23:48 Evolving Style and Intentionality in Photography 27:09 Confidence and Creative Growth 28:35 Conclusion and Future Aspirations Stay Connected with Our Guest:

Matthew Schilt p/k/a Matt Fingaz has a long history in the hip-hop game. He was one of the pioneers of New York's late 90s underground indie rap boom with his label Guesswhyld Productions. He's credited with being 1 of the first people to work with Just Blaze, being a key factor in the start of his career. He did the same for Hi-Tek, Talib Kweli, Mos Def, 88-Keys, Sha Money XL and countless others. Matt was one of the producers of the 1st Hip Hop Show at Lincoln Center,NYC(The Roots, Talib Kweli, Large Professor & Jay-Z).  Throughout the years, Matt has been and still is a go to person for coordinating recording artists, music producers and various other resources in all genres of entertainment. His resume includes such notables as Kanye West (1st major label featured performance for Sony/BMG), Snoop Dogg, Swizz Beatz, T.I., Rakim, Fat Joe, Nelly, Kehinde Wiley, French Montana, Big Boi of Outkast, Ty Dolla $, The Game, Nas, Questlove, Sean Paul, R City, Austin Mahone, Cyhi The Prynce, Sean Kingston, Jason Derulo, Marsha Ambrosius, Mos Def, Talib Kweli, Busta Rhymes, Trina, G-Unit, Raekwon, ODB, Xzibit, Mobb Deep and many more.  Producers worked with: Kanye West, Just Blaze, Boi-1da, Organized Noize, DJ Marley Marl, JR Rotem, Scott Storch, DJ Khalil, Salaam Remi, Rockwilder, Erick Sermon, Havoc, Midi Mafia, The Fliptones, Terrace Martin, Focus, The Nasty Beatmakers, Seige Monstracity, Sndtrak, DJ Jazzy Jeff, Jake One, 88-Keys, Bink!, Cool + Dre  and many more. Recently, he has created his own multi-tiered company, B.O.C. (Business Of Coordination), which specializes in talent coordination, content development, project consultation, artist booking and many other services in the field of entertainment. 

Pittsburgh-based art historian and curator, Kilolo Luckett joins the Studio Noize fam today! Its always exciting to have dynamic, interesting women on the show because they have so much to offer. Kilolo has created an experimental, contemporary art platform with Alma Lewis and still works as an independent curator with artists like Stephen Towns, Amani Lewis and Thaddeus Mosley. She talks about building connections with artists that she curates, the importance or reading for artists and creating Alma Lewis as a place where artists can grow in their practice. Kilolo shares what she sees as the job of a curator and how to created a culture that supports artists in every way. Listen, subscribe, and share!Episode 190 topics include:building a connection to artistswhat an artist readsadvocating for artistswhat a curator doesthe importance of narratives in artcreating Alma Lewis art culture supporting artists during a residencyKilolo Luckett bio:Kilolo Luckett is a Pittsburgh-based art historian and curator. With more than twenty-five years of experience in arts administration and cultural production, she is committed to elevating the voices of underrepresented visual artists, especially women, and Black and Brown artists.Luckett is Founding Executive Director and Chief Curator of ALMA | LEWIS (named after abstract artists Alma Thomas and Norman Lewis), an experimental, contemporary art platform for critical thinking, constructive dialogue, and creative expression dedicated to Black culture.Among the many exhibitions to her credit are Familiar Boundaries. Infinite Possibilities (2018), Resurgence – Rise Again: The Art of Ben Jones (2019), I Came by Boat So Meet Me at the Beach by Ayana Evans and Tsedaye Makonnen (2020), Vanishing Black Bars & Lounges: Photographs by L. Kasimu Harris (2020), and Dominic Chambers: Like the Shapes of Clouds on Water (2020) at the August Wilson African American Cultural Center; Amani Lewis: Reimagining Care (2021) and Lizania Cruz: Performing Inquiry (2022) at ALMA | LEWIS; Stephen Towns: Declaration & Resistance (2022), which premiered at the Westmoreland Museum of American Art and travels to Boise Art Museum in Boise, Idaho, and Reynolda House Museum of American Art in Winston-Salem, North Carolina (2023); and Luckett co-curated SLAY: Artemisia Gentileschi & Kehinde Wiley (2022) at The Frick Pittsburgh.She has curated exhibitions by national and international artists such as Peju Alatise, Martha Jackson Jarvis, Thaddeus Mosley, Tajh Rust, Devan Shimoyama, and Shikeith. She served as an Art Commissioner for the City of Pittsburgh's Art Commission for twelve years. Luckett has held positions as Curator of Meta Pittsburgh's Open Arts, Consulting Curator of Visual Arts at the August Wilson African American Cultural Center, Director of Development at The Andy Warhol Museum, and Curatorial Assistant at Wood Street Galleries, where she helped organize shows that included Xu Bing, Louise Bourgeois, Larry Bell, Catherine Opie, Nam June Paik, and Tim Rollins + K.O.S.See more: Alma Lewis website + Kilolo Luckett's IG @kilololuckettFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

In Episode 362, artist, curator and recent PhD (from U.C. Santa Barbara) Maiza Hixson co-hosts this episode's OLD NEWS, featuring updates on: protests, including the case of #metoo being spray-painted onto Gustave Courbet's painting ‘Origin de monde,' and how the article had a correction stating that the image was of a vulva, rather than a vagina; the sentencing of a woman who was involved in the vandalism of a Degas sculpture in Washington, D.C.; the vandalism on the façade of the home of Brooklyn Museum director Ann Pasternak, and how these protesters are attempting to draw attention to the various corporate ties in the art world; protests and letters relating to the war in Gaza, and the very powerful people who are influencing university protests and various politics through corporate channels; the Kehinde Wiley controversy related to accusations of sexual assault made against him; the work of the Yes Men, and how it's not about disruption, it is disruption, as exemplified in a recent intervention at a fundraising event involving a new housing development; how Maurizio Cattelan's recent bullet-hole sculptures represent the insular culture of the art world; how Leonardo da Vinci was in the vanguard of eating, in that he was one of our early vegetarians; and whether we can qualify artists as being progressives, including taking a closer look at their carbon footprints; and the wide-ranging art and fandom of Miranda July.

Interested In Securing Shares In THE NEW BLXCK - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Secure Shares In TNB⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Any questions about this investment opportunity, please contact Brent@TheNewBlxck.com Join Our Discord Community: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email Us: TheDayAfter@THENEWBLXCK.com WhatsAPP: 07564841073 Join us in our twitter community - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe NOW to The Day After: shorturl.at/brKOX The Day After, (00:00) Intro: (26:56) Headlines: Helicopter carrying Iranian President Raisi crashes, Slovakian Prime Minister Fico no longer in immediate danger, Infected blood scandal: Inquiry into NHS disaster to publish findings (54:59) What You Saying? The Death of Black Celebrity??

Ever wonder who makes Laverne Cox's hair look so good? It's none other than this week's guest, Dee TrannyBear! Dee tells Jonathan all about their incredible origin story: they started off working in German salons as a high school student and eventually came to America where they found queer community. Then Dee and Jonathan talk shop about all things wigs: which ones to buy, tips for installing, and how much you can expect to pay if you want an expert's touch. Plus, Dee teases a MAJOR new project. Dee TrannyBear is a master wigologist and haircolorist. Having grown up in Germany, Dee recently came to the U.S. and has taken the industry by storm. They frequently work with celebrities such as Laverne Cox, Alok Vaid-Menon, internationally acclaimed painter Kehinde Wiley, and many other influential leaders across industries. Dee is on Instagram at @deetrannybear. Follow us on Instagram @CuriousWithJVN to learn more about the products from this episode, or head to JonathanVanNess.com for the transcript. Jonathan is on Instagram @JVN. Find books from Getting Curious and Pretty Curious guests at bookshop.org/shop/curiouswithjvn. Our senior producers are Chris McClure and Julia Melfi. Our editor & engineer is Nathanael McClure. Our theme music is also composed by Nathanael McClure. Production support from Julie Carrillo, Anne Currie, and Chad Hall. Curious about bringing your brand to life on the show? Email podcastadsales@sonymusic.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ever wonder who makes Laverne Cox's hair look so good? It's none other than this week's guest, Dee TrannyBear! Dee tells Jonathan all about their incredible origin story: they started off working in German salons as a high school student and eventually came to America where they found queer community. Then Dee and Jonathan talk shop about all things wigs: which ones to buy, tips for installing, and how much you can expect to pay if you want an expert's touch. Plus, Dee teases a MAJOR new project. Dee TrannyBear is a master wigologist and haircolorist. Having grown up in Germany, Dee recently came to the U.S. and has taken the industry by storm. They frequently work with celebrities such as Laverne Cox, Alok Vaid-Menon, internationally acclaimed painter Kehinde Wiley, and many other influential leaders across industries. Dee is on Instagram at @deetrannybear. Follow us on Instagram @CuriousWithJVN to learn more about the products from this episode, or head to JonathanVanNess.com for the transcript. Jonathan is on Instagram @JVN. Find books from Getting Curious and Pretty Curious guests at bookshop.org/shop/curiouswithjvn. Our senior producers are Chris McClure and Julia Melfi. Our editor & engineer is Nathanael McClure. Our theme music is also composed by Nathanael McClure. Production support from Julie Carrillo, Anne Currie, and Chad Hall. Curious about bringing your brand to life on the show? Email podcastadsales@sonymusic.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Vinson Cunningham is a staff writer for The New Yorker. His novel, published in March 2024, is Great Expectations. “I think the job is just paying a bunch of attention. If you're a person like me, where thoughts and worries are intruding on your consciousness all the time, it is a great relief to have something to just over-describe and over-pay-attention to—and kind of just give all of your latent, usually anxious attention to this one thing. That, to me, is a great joy.” Show notes: @vcunningham vinson.nyc Cunningham on Longform Cunningham's New Yorker archive 04:00 "'The Suit' at BAM" (Brooklyn Paper • Jan 2013) 04:00 "Label Maker: Edward Buchanan" (Nylon Guys • Mar 2015) 09:00 circlejerk.live 11:00 Jeremy O. Harris' plays 11:00 "How Are Audiences Adapting to the Age of Virtual Theatre?" (New Yorker • Oct 2020) 18:00 "The Season of Russell Westbrook and a New Era in N.B.A. Fandom" (New Yorker • Apr 2017) 25:00 Cunningham's McSweeney's archive 25:00 "The Flies in Kehinde Wiley's Milk" (The Awl • Jun 2015) 25:00 "Can Black Art Ever Escape the Politics of Race?" (New York Times Magazine • Aug 2015) 25:00 "How Chris Jackson is Building a Black Literary Movement" (New York Times Magazine • Feb 2016) 27:00 "Stephon Marbury Has His Own Story to Tell" (New Yorker • Apr 2020) 28:00 "The Playful, Political Art of Sanford Biggers" (New Yorker • Jan 2018) 29:00 WTF with Marc Maron 32:00 "Tracy Morgan Turns the Drama of His Life into Comedy" (New Yorker • May 2019) 36:00 Redd Foxx party albums 38:00 Alexandra Schwartz' New Yorker archive 41:00 Simon Parkin on Longform 41:00 Adrian Chen on Longform 42:00 "The Many Lives of Steven Yeun" (Jay Caspian Kang • New York Times Magazine • Feb 2021) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Inner tubes, in-and-out, vocab words, apricot juice, what is large format, and paper. Join the friends as they see Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys at the Brooklyn Museum. The show features 98 artworks by Black American, African, and African diasporic artists including Derrick Adams, Deana Lawson, Meleko Mokgosi, Gordon Parks, Kehinde Wiley, Jean-Michel Basquiat, Mickalene Thomas, Hassan Hajjaj, Barkley L. Hendricks, Lorna Simpson, and Amy Sherald.

Upside Down Glory Where have you seen systems of oppression benefiting from the glorification of suffering? On this fifth Sunday of Lent, Christopher Mack glimpses an Upside Down Glory of God that does not require the renouncing of our Divine Image; sets us in solidarity on a path of downward mobility, and reveals the violence of othering and casting out. [John 12:23-32]   Reflection Are there deforming religious ideas of denying your humanity you are invited to name & renounce?  What might it look like to embody a self-giving love that honors your personhood as well as others? How might we become more aware of where our own impulse to cast ‘others' out drives us? Resources Book: The Wisdom Way of Knowing by Cynthia Bourgeault Exhibit: The Archaeology of Silence  by Kehinde Wiley at the Museum of Fine Arts Houston Film: X-Men: The Last Stand  Directed by Brett Ratner Written by Simon Kinberg & Zak Penn Book: Pleasure Activism by adrienne maree brown

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

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

This week I interview artists Dazié Rustin Grego-Sykes and Derrick Miller-Handley. They discuss the creation and impact of their performance piece, 'The Changer and the Changed', a performed memoir of Dazié's lived experience, exploring issues of child sex abuse, addiction, and the experience of being Black, Queer, and HIV positive. Through this deeply personal piece, performed in a community space, Dazié and Derrick aimed to create an intimate shared experience, encompassing the transformation, complex conversations, and the delicate balance of addressing difficult topics. The duo, who form the art collective 'Bundle of Sticks', share how their long-term friendship forms the foundation of their collaborative process. They also highlight the importance of acknowledging and embracing personal histories, shaping experiences into art, and finding a sense of belonging. 00:12 Introduction to Art Heals All Wounds00:47 Discovering Dazié Grego-Sykes and The Changer and The Changed01:47 Experiencing The Changer and The Changed02:19 Understanding the Impact of Art04:19 Interview with Dazié Grego-Sykes and Derrick Miller-Handley05:03 Introduction to the Art Collective Bundle of Sticks07:01 The Creation and Transformation of The Changer and The Changed15:13 The Role of Personal Journals in The Changer and The Changed20:34 The Power of Mythology in Art23:48 Creating a Tangible Environment24:18 The Thin Line Between Performance and Reality24:52 The Power of Trust and Friendship in Performance25:21 The Real-Time Experience of Performance26:10 The Transformational Power of Art27:03 The Influence of Kehinde Wiley's Work28:38 Creating New Spaces in Art29:28 The Role of Afrofuturism in Art32:06 The Importance of Ancestry and History35:41 The Performers: A Deep Dive into Their Stories38:40 The Concept of Belonging in Art41:19 Connecting with the Audience43:17 Where to Find More About the Artists and Their Work44:11 Closing RemarksDon't forget to go to my website and leave me YOUR story of belonging to feature on a future episode!Buy Me a Coffee!Follow Dazié Rustin Grego-Sykes and Derrick Miller-Handley!Bundle of Sticks websiteDazié's Instagram and FacebookDerrick's Instagram and FacebookFollow Me!●      My Instagram ●      My LinkedIn●      Art Heals All Wounds Website●      Art Heals All Wounds Instagram●      Art Heals All Wounds Facebook

The annual Studio Museum residency has long been one of the most prestigious artist residencies in the city, and a fertile ground for emerging Black artists. The program includes alumni such as David Hammons, Mickalene Thomas, and Kehinde Wiley. A new exhibition at MoMA PS1 presents the work of the 2022-23 artists in residence: Jeffrey Meris, Devin N. Morris, and Charisse Pearlina Weston. Meris and Morris join us alongside curator Yelena Keller to discuss the show. And Ever An Edge: Studio Museum Artists in Residence 2022–23 is on view through April 8.

I recently had a truly transformative experience visiting Kehinde Wiley's exhibit, "An Archaeology of Silence," at the de Young Museum in San Francisco. In an attempt to capture the profound impact of the artwork, this episode is a heartfelt letter to the artist, expressing my gratitude and awe. Wiley's colossal paintings of young black individuals, both living and deceased, set against nature and contemporary clothing, left an indelible mark on my soul. The sculptures, larger than life and brimming with life even in their portrayal of death, moved me from one existential moment to another. Wiley's work has moved me in a way that no other art has in my 77 years, and this experience has rekindled a sense of newness in my life, and for that, I am endlessly thankful. Admittedly, this letter took days to write and still feels a paltry expression of all I experienced. Please take a moment to visit Kehinde Wiley's website at https://kehindewiley.com/. Now That You Ask is a podcast that looks at topics that range from death to desire, and from wondrous to downright whacky. Join host, Akasha Halsey as she takes listeners on a journey through her writing and experience with life's most persistent questions.Thank you for listening!Listen to more episodes like this and subscribe to updates at https://nowthatyouaskpodcast.com/

A closer look at Kehinde Wiley's work and its influence on the art world. Plus, what this weekend has in store for the arts. And Midday Movies is back with some frightening Halloween picks.

Ep.173 features Austrian-born and based in Los Angeles where she relocated in 2017, Katherina Olschbaur (b. 1983) was emboldened by her move to push the boundaries in the tenuous relationship between representation and abstraction, creating the distinct viewpoint in her painting practice for which she is recognized. She graduated from the University of Applied Arts, Vienna, Austria. Recent exhibitions include Sirens, Dangxia, Beijing (solo);Midnight Spill, Perrotin, Hong Kong (2023, solo); Somatic Markings, Kasmin, NewYork (2022); Prayers, Divinations, Nicodim, New York (2022, solo); Dak'Art:African Contemporary Art Biennale, Dakar (2022); Live Flesh, Nicodim, Los Angeles (2021–2022, solo); Dominique Fung and Katherina Olschbaur: My Kingdom and a Horse, Galeria Nicodim, Bucharest (2021, two-artist); Night Blessings, Union Pacific, London (2021, solo), Tortured Ecstasies, Nicodim Upstairs, Los Angeles(2020, solo); Dirty Elements, Contemporary Arts Center Gallery, UC Irvine, Irvine (2020, solo); Hollywood Babylon: A Re-inauguration of the Pleasure Dome, Jeffrey Deitch, Nicodim, AUTRE Magazine, Los Angeles (2020); The Divine Hermaphrodite, GNYP Gallery, Berlin (2019, solo); and Horses, Nicodim, Los Angeles (2018, solo). In 2021, she was selected for the second year of Kehinde Wiley's Black Rock residency in Dakar, Senegal. Portrait image courtesy of Georgianna Chang Artist http://www.katherinaolschbaur.com/ Nicodim https://www.nicodimgallery.com/artists/katherina-olschbaur Perrotin https://leaflet.perrotin.com/view/464/midnight-spill Dangixia  https://dangxia.art Perrotin film https://www.youtube.com/watch?v=Rjgt0n9j0cg Bazaar https://mp.weixin.qq.com/s/A-rasX0j8q0Zuy7U3VFiIw W Magazine https://mp.weixin.qq.com/s/MM2ak-JZTnFvuGGpU-USSA Whitehot Magazine https://whitehotmagazine.com/articles/live-flesh-at-nicodim-gallery/5272 Blackrock Senegal https://blackrocksenegal.org/katherina-olschbaur-2/ Repaint History https://repainthistory.com/blogs/artists/katherina-olshbaur Contemporary Art Friday https://contemporaryaf.com/katherina-olschbaur/

durée : 00:03:28 - Le Regard culturel - par : Lucile Commeaux - L'exposition "Dédale du pouvoir", nichée au rez-de-chaussée du Musée du quai Branly à Paris, où on peut voir onze portraits de chefs d'État africains peints par l'artiste américain Kehinde Wiley, concentre un nombre de questions exponentiel sur la représentation du pouvoir.

In Episode #77, Ross is joined by Anthony Azekwoh, a contemporary artist and author based in Nigeria, whose work focuses on African folklore and mythology.Anthony uses diverse mediums, such as digital and traditional painting and sculpting, to explore transformation and change in his country. He replicates traditional techniques through digital mediums, producing physical, corporeal manifestations of his work. His art has been seen worldwide, with clients like Facebook and celebrities such as Masego and Adekunle Gold. Ross and Anthony discuss the lack of representation for African Artists in Web3 and how he thinks the space will evolve over the coming years. Anthony also shares his realisation about Instagram that drove him to start working with SuperRare.Find show notes and episode highlights at https://nwrk.co/omq-anthony

ABRAM JACKSON: Una arqueología del silencio. Kehinde Wiley dio este nombre a esta escultura monumental y a la propia exposición. Hay mucho que reflexionar aquí. Encuentre un espacio cercano donde pueda estar cómodo por unos minutos, mientras escuchamos al artista y a Hodari Davis: KEHINDE WILEY: La cuestión es utilizar el lenguaje de lo monumental para decir que estamos en una crisis profunda. Usted, espectador, tiene que llegar a un acuerdo en cuanto a cómo percibimos el cuerpo de la persona negra. Aquí, el cuerpo está desprovisto de vida; sin embargo, el caballo sigue encabritado, aún moviéndose. HODARI DAVIS: Es casi como ¿con quién se identifica? ¿Es usted ese caballo del Imperio que hemos visto tantas veces marchando sobre tantas ciudades por todo el mundo? ¿O es usted el cuerpo sobre el lomo de este caballo? Muchos de nosotros hemos sido educados para jurar lealtad a ese caballo, para estar orgullosos de los logros de ese caballo y a no ver ese cuerpo que está sobre el lomo del caballo, a no verlo en realidad. ABRAM JACKSON: Las estatuas de los generales de la Guerra Civil a caballo en Richmond, Virginia, fueron removidas tras las protestas por el asesinato de George Floyd en 2020. Pero la experiencia de Wiley con ellas, unos cuantos años atrás, le hicieron pensar a fondo acerca de las obras de arte que pueden encerrar tanto poder. KEHINDE WILEY: Por lo general, fueron producidas en las décadas de los 20 y los 30, como una forma de aterrorizar a la población negra del sur. Yo quería recrear ese lenguaje, quería inhalarlo y exhalar algo que fuera diferente. Arqueología es el acto de mover el pasado hacia el presente. Y pienso que mucho de lo que pasó tras el brutal asesinato de George Floyd tiene que ver con nuestro reconocimiento de su humanidad y la humanidad de tantos quienes nos parecemos a él, generaciones de gente que han sufrido la esclavitud de la persona como propiedad y la presencia del Imperio. ¿Se trata de destrucción? No. Se trata, absolutamente, de la capacidad humana de sanar y reconstruir. Se trata de la resiliencia que ha sido nuestra salvación por generaciones. Mi trabajo se trata de la creación de estrategias para brillar, estrategias para extraer historias terribles y crear nuevos campos de providencia. HODARI DAVIS: Así que, ¿qué sucede cuando la gente confronta esto? Sé que el arte tiene la capacidad de hacer que las conversaciones difíciles se conviertan en muy fáciles y las conversaciones fáciles en muy difíciles. Eso es arte, ¿cierto? Con el simple hecho de presentarlo al mundo cambia nuestra opinión, cambia la manera en la que pensamos, cambia el tipo de conversaciones que hubiéramos tenido o no si no nos hubieran provocado tanto. Ese es el poder que tiene el arte. ABRAM JACKSON: Esta es la última sala de la exposición y el final de la audioguía. Pero de ninguna manera es el fin de la conversación. Tenemos varios recursos adicionales para ayudarle a que pueda dar sentido a esta poderosa exposición; entre ellos, un espacio para la reflexión crítica en el salón de murales Piazzoni Murals Room. Está en el primer piso, bajando las escaleras, justo afuera de Wilsey Court. También tenemos un cortometraje sobre la trayectoria de Kehinde Wiley y su proceso artístico, al cual puede accederse en la página web de la exposición. Deseamos agradecer a todas las personas entrevistadas: a la reverenda Wanda Johnson, de Oscar Grant Foundation; Hodari Davis, de Entretenimiento Educativo para la Equidad; la curadora Claudia Schmuckli; y, por supuesto, al propio artista. La audioguía está respaldada por Google.org, lo que permite que todos los visitantes accedan a ella de manera gratuita. El recorrido en audio estuvo narrado por mí, Abram Jackson. Fue escrito y producido por Frances Homan Jue. El diseño de sonido estuvo a cargo de Dennis Hysom. Gracias por escuchar.

KEHINDE WILEY: Este trabajo surge como respuesta directa al asesinato de George Floyd. Durante aquel tiempo, muchos de nosotros tuvimos la oportunidad de reflexionar al respecto y de lamentar esa muerte.. Una arqueología del silencio es una arqueología de historias no contadas y de vidas desperdiciadas. Es una historia de los Estados Unidos que trata sobre la brutalidad y la borradura o negación. Mi trabajo trata de devolverle vida a ese momento borrado y, mediante esa arqueología, crear algo que tal vez está vivo. TOM CAMPBELL: Acaba de escuchar al artista Kehinde Wiley. Yo soy Tom Campbell, director de los Museos de Bellas Artes de San Francisco. Esta exposición se estrenó en Venecia, Italia, la primavera pasada. Es un gran honor presentarla por primera vez en los Estados Unidos, donde los temas que plantea son de actualidad y suma importancia. ABRAM JACKSON: Y yo soy Abram Jackson, director de interpretación de los Museos. Mi función es apoyar a estas instituciones en el relato de historias más inclusivas para un público más amplio. Tengo mucho gusto de acompañarle hoy en este recorrido por la exposición. Desde hace muchos años, Kehinde Wiley se ha adentrado en la historia del arte occidental, como fuente de inspiración. La voltea al derecho y al revés y de arriba abajo, sacudiendo sus convenciones y simbolismos, cuestionando su propósito. Forja sus elementos en algo nuevo, resplandeciente y completamente suyo. KEHINDE WILEY: Lo que trato de hacer, en última instancia, es jugar con el lenguaje del poder: ¿Quién merece estar en las paredes de un museo? Todo es político. El arte es un medio a través del cual puedes resaltar cosas en el mundo. ABRAM JACKSON: Comencemos. Nuestra próxima parada es ante la escultura de bronce de un joven con capucha, titulada Gálata moribundo. La encontrará justo en la primera sala.

ABRAM JACKSON: El punto de partida para esta figura de Wiley fue una tierna y realista representación de una mártir romana cristiana yaciendo sobre su tumba. El artista ha estado por mucho tiempo interesado en experimentar con fondos. Aquí, decidió llenarlo con amapolas. KEHINDE WILEY: Históricamente, los fondos han sido: hombre poderoso sentado en su tierra, todo es posesión (estos son mis animales, la casa es de mi posesión). Decidí hacer el fondo con esta decoración floral y así quitar toda la ansiedad que rodea a la posesión y, en su lugar, llenarla con el simple acto del crecimiento en sí. ABRAM JACKSON: Los colores vívidos de las amapolas complementan los cálidos reflejos en la piel de la figura. Wiley, de raíces negras estadounidenses por parte de su madre y nigerianas por parte de su padre, recientemente ha pasado temporadas en África Occidental. Como se dijo, muchas de las personas que modelaron para las obras de esta muestra son de Senegal. KEHINDE WILEY: África ha tenido una gran influencia en mi trabajo, porque voy a los mercados y veo telas que son inspiradoras. Veo colores que son inspiradores, historias y botánicas que no existen en mi trabajo de antes. También veo los diferentes tipos de negritud que allí existen. Aprendí cómo pintar la piel usando la blancura, como el modelo por el cual se aprecia el mundo. En la pintura de caballete occidental no existe una verdadera tradición para pintar la piel negra, así que uno mismo tiene que crearla: crear un vocabulario de negritud, un libro de reglas de juego de la negritud. Una de las cosas formidables de mis exposiciones es que la gente joven negra y morena empieza a asistir a los museos, como si esas instituciones fueran para ellos. Y deberían serlo. ABRAM JACKSON: Cuando termine de explorar esta sala, regrese a la sala anterior. Al pasar por el enorme cuadro de un hombre con camisa amarilla, dé vuelta a la derecha. La próxima parada será junto a la pintura de una mujer con blusa roja sin mangas, sentada sobre una tela anaranjada.

This is the first #BasicBitch that we've recorded since March, and clearly we have a lot of shit to catch up on!We talk major changes in the Bitch Talk universe (including celebrating our 10 year anniversary!), highlights from CAAMFest (the Center for Asian American Media Film Festival), our favorite movies of the summer, fancy dinners, live music/art, dicks and menopause, our favorite guests of the summer, and a chaotic pub crawl that included a dirty twist. This episode is loaded and bloated just like us...enjoy!Bitch Talk Recommendations (as referenced in the episode)Restaurant:Old Skool CafeBooks:Wannabe: Reckonings With The Pop Culture That Shapes Meanything by Samantha IrbyFilm:JoyrideJeanette Lee Vs.Fanny: The Right To RockArt/Science:Kehinde Wiley exhibit @ the de Young MuseumThe ExploratoriumMusic:The Lost ChurchFleetwood MacrameStern Grove Festival--Thanks for listening and for your support! We couldn't have reached 10 years, 700 episodes or Best of The Bay Best Podcast without your help! --Be well, stay safe, Black Lives Matter, AAPI Lives Matter, and abortion is normal.--SUPPORT US HERE!Subscribe to our channel on YouTube for behind the scenes footage!Rate and review us wherever you listen to podcasts!Visit our website! www.bitchtalkpodcast.comFollow us on Instagram, Facebook, and Twitter.Listen every Tuesday at 9 - 10 am on BFF.FM 

Matthew 13:1-9, 18-23That same day Jesus went out of the house and sat beside the sea. Such great crowds gathered around him that he got into a boat and sat there, while the whole crowd stood on the beach. And he told them many things in parables, saying: “Listen! A sower went out to sow. And as he sowed, some seeds fell on a path, and the birds came and ate them up. Other seeds fell on rocky ground, where they did not have much soil, and they sprang up quickly, since they had no depth of soil. But when the sun rose, they were scorched, and since they had no root, they withered away. Other seeds fell among thorns, and the thorns grew up and choked them. Other seeds fell on good soil and brought forth grain, some a hundredfold, some sixty, some thirty. If you have ears, hear!”“Hear, then, the parable of the sower. When anyone hears the word of the kingdom and does not understand it, the evil one comes and snatches away what is sown in the heart; this is what was sown on the path. As for what was sown on rocky ground, this is the one who hears the word and immediately receives it with joy, yet such a person has no root but endures only for a while, and when trouble or persecution arises on account of the word, that person immediately falls away. As for what was sown among thorns, this is the one who hears the word, but the cares of this age and the lure of wealth choke the word, and it yields nothing. But as for what was sown on good soil, this is the one who hears the word and understands it, who indeed bears fruit and yields in one case a hundredfold, in another sixty, and in another thirty.” Today we are going to be talking about soil; and at the very same time, we are going to be talking about our minds and imaginations. The activity of “cultivating” applies equally – quite poetically – to both. We have here in Matthew the very familiar parable of the sower; though perhaps is should be called more accurately “The Parable of Four Soils”. Jesus says to the crowd, “a sower went out to sow, and lots of the seed did not find fertile ground and grow, or it germinated briefly but was not able to flourish. Some of the seed did find fertile ground, and in some places the soil was Excellent and the yield was 100 fold. In other places the soil was very good and the yield was 60 fold. In other places, the soil was pretty good and the yield was 30 fold.” Jesus makes clear here that the seed is the Word of the kingdom of God. I love how this seed is spread indiscrimately. The sower does not focus their efforts merely on the excellent soil, but instead gives it away to all kinds of soils in all kinds of places. This is good news! Rejoice! The Word of God, Jesus Christ himself, is for all people. The focus of this parable, though, is not on the seed or the sower. It is on the soils; it is a parable about reception, about receiving and bearing the fruit of the Kin-dom of God. Jesus describes four possible kinds of soils for us, that represent four different states of mind and heart. The first three soils result in failed harvests:1. The Path: The Word is not understood, so it is taken from us and has no effect. 2. The Rocky Soil: The Word is received with joy, and it takes root, but, alas, the roots of the Word are not deep enough to endure.3. The Thorny Soil: Here the distractions of the world and money choke the Word of God out. The Word is not able to grow and flourish in these three soils, or in people with these qualities of mind. Lets think for a min about why that might be:The Path is too hard and inflexible, it has been treaded down solid – perhaps in our analogy between soil and mind, this is someone whose mind is made up. Nothing grows in the path because it is too compressed. Water rolls right off. Even if a plant springs up, it is crushed underfoot. There is no way into this ground.The Rocky soil is too shallow – the quality of the soil might be fine, as we are told the seed germinates, but it is not deep enough or broad enough to sustain lasting and enduring growth. This is a mind that is perhaps open to be persuaded by new insights or welcomes different perspectives, but it does not go deep enough to bring forth fruitful and faithful action. The Thorny Soil is too crowded – is obviously soil that can sustain an abundance of life – yet, it is not growing edibles but weeds. Thorns are rooted so deep and are so broadly plentiful in that there is no space for a new seed to grow, a new idea to flourish. This is a person who is distracted by life. Then we have the fourth soil, 4. The Good Soil: Jesus explains, “But as for what was sown on good soil, this is the one who hears the word and understands it, who indeed bears fruit”. This soil or person hears the Word of God and, unlike the other three soils: i. a) understands it, ii. b) allows it to take deep root, iii. c) grows and endures through the seasons, and iv. d) bears fruit for harvest. b. **the reception of the Word bears forth in growth, action, change. Good soil does not merely receive the seed, but creates the conditions for flourishing. So obviously we want to be good soil; but what if we are not good soil? What if we are hard soil? Or shallow soil? Or crowded soil? Something that I think can be overlooked in this passage is that the parable never says that the soil is destined to stay how it is described. As the gardeners and farmers in the room know, good soil can be cultivated. It is slow, hard work. It depends on a multitude of other creatures and processes to assist the farmer's or gardener's efforts – the cycle of decay and renewal, the presence of bugs, worms and microbes breaking down organic materials, plants that add nutriance back into the soil, rainfall, and merely time. But it can be done. I have a spot in my backyard, just under my kitchen window that is SOLID CLAY. Weeding this portion of the yard is tough and thus it is currently fully of weeds…because I have children. When it rains this section becomes a standing pond because the water does not penetrate easily. Last fall, however, I did have one weekend to devote to a very small section of this clay. I spent two exhausting days digging up the bed, pulling out the seeming miles of weedy vines underground, sifting through it to pull up rocks, ammending the soil with manure. This summer, unlike the section right under my window, I have a three foot garden bed where my peonies are flourishing.Similarly, this parable is calling the Christian disciple to do the hard work to become good soil. The Path need not stay compacted, the rocky soil can increase its depth, and the thorny soil can be weeded. Afterall, that is why Jesus calls us to become disciples, students; to learn and grow into his image by the power of the Spirit. This summer we have been focusing on hearing God's Word in New ways, but not just from this pulpit: we have also been doing individual work of plowing and tilling our imaginations to understand the implications of the gospel in light of the current racial and economic disparities in our country. Pastor Cogan, for example, just began a book study this last week on the book Caste. A group of you attended racial equity training. Many others have picked up a great variety of adult and children's books from the Narthex. This is an amazing start. It is timely for us, then, to hear this parable as the summer is coming to an end. In what condition is the ground of your mind and my mind? What will be the “harvest” of our congregation's focused concern with race and racism? Will we have a harvest?Will our congregation be like The Path, where these new perspectives “roll off like water on a rock?” Are we as a community compacted so tight that we cannot be opened up by new loves, new concerns? Will our congregation be like The Rocky ground where we receive these various books and sermons with joy, yet do not able to allow it to root deeply enough to endure over the long haul? Or will our congregation be like the Thorny Ground and eventually get distracted? Or bored? It is easy to feel fatigue wrestling with issues that feel impossibly large. Can we avoid it?This summer is mainly about the first step towards becoming good soil – understanding this Word, hearing the gospel in voices from the margins, taking off the blinders of our minds and hearts. If by grace we are enabled to do this, we have successfully avoided become like the soil of The Path. We have been opened up and turned over, air and light and nutrients have been added in. But, will we allow it to penetrate deep into our community?I have faith that if we continue to attempt to cultivate our minds, hearts and lives we can become good soil; this is because the grace of the Spirit to take our mere graspings and bear fruit for God's kingdom. The Spirit of Christ is eager to partner with us in this truly life-long project. So when the books have been read and the summer class over, how do we continue to cultivate imaginations to be able to think expansively and inclusively from multiple perspectives? This will involve the typical suspects – volunteering, advocacy, voting, and serving our community – but it may also involve something you might not expect: stories. I am a theologian by trade, and I research and teach various classes in theology, the arts, and the formation of the Christian imagination. Many theologians in my area of study have noted how our imagination is formed through many seemingly innocuous cultural habits and stories.We become the people we are through the narratives we inhabit, the stories we tell ourselves about who we are, where we came from, and where we are going. And the stories that most white North Americans inhabit are ordered by a white imagination; Even TV shows or books or movies that with characters of color may be reproducing a white racial ordering of the world – think of how so many of the black characters in TV or movies are treated as comic relief or as a support for the white hero.So one answer to the question “what do we do when the books are read and the class is over?” is immerse yourself in the imagination of those who are not white. There are non-white novelists, poets, painters, directors, and more that are producing excellent stories in every genera and media, from horror to romance to nature poetry to children's books. Do you read poetry? Start reading the Black Indiana poet Ross Gay or Native American poet Joy Harjo. Do you like science fiction? Try reading Octavia Butler and other authors in Afrofuturism. Do you like visual art? Look up the monumental paintings of Kehinde Wiley who paints black subjects in epic and humanity-honoring images. The deconstructive work that many of us have been doing is critically important – we need to take the blinders off to see the hurt and oppression in our society. But we also need stories about Black joy. Native American hope. Asian American Love. Indian American beauty. Pacific Islander flourishing. We need to hear, and see, and feel other people's stories, to be able to imagine with them what a better future looks like for all. Jesus calls us to imitate good soil: to receive God's word, to tend it over the long haul, to improve our minds and hearts so that the Kingdom of God is embodied in our actions, our community, and our stories.

Kehinde wiley whisper in de young museum --- Support this podcast: https://podcasters.spotify.com/pod/show/haiying-yang/support

A work from one of the nation's most prominent Black artists will now be on display to San Diegans, free of charge. Plus, a new book on the overlap between film noir and mixology. Then, recommendations for your next summer romance read.

Since its inception in 1977, Public Art Fund has presented more than 500 artists' exhibitions and projects at sites throughout New York City.  In this episode, Susan K. Freedman, the president of Public Art Fund, presents current exhibitions including Nicholas Galanin's impressive new sculpture “In Every Language There Is Land/En cada lengua hay una Tierra” at Brooklyn Bridge Park, art installations at La Guardia Airport Terminal B by Jeppe Hein. Sabine Hornig, Laura Owens and Sarah Sze, at Newark Liberty International Airport Terminal A by Karyn Oliver and Layqa Nuna Yawar, as well as art installations at the Moynihan Train Hall by Stan Douglas, Elmgreen & Dragset, and Kehinde Wiley. Public Art Fund is also behind the late Phyllida Barlow's final series of large-scale sculptures, PRANK, in City Hall Park, that opened in the beginning of June. Public Art Fund believes in free access to great contemporary art for all, that artists are an essential part of our civic dialogue, and that art has the power to ignite conversation among different people, to open hearts and minds, and to help shape our collective future.   Freedman currently serves on the board of the Municipal Art Society, and as vice chair of the board for the City Parks Foundation. She is a recipient of the 1999 Associates of the Art Commission Annual Award and was honored with the 2005 Municipal Art Society's Evangeline Blashfield Award for her contributions to New York City's urban landscape. Photo by Kelly Taub  

Today, we hear from Black women whose children were killed — often because of failures in our law-enforcement system. We bring you powerful conversations from the Kehinde Wiley exhibit "An Archaeology of Silence" — currently at the de Young museum. Then, we learn about a new Bayview farmer's market featuring Black owned businesses.

CCH is an avid art collector. A new exhibit featuring pieces from CCH's collection Diaspora Stories: Selections from the CCH Pounder Collection opened in Chicago on March 18 at The DuSable Black History Museum and Education Center and runs through July 16, 2023.  The exhibition which was curated especially for the DuSable Museum contains 24 works of art by worldrenowned artists including Kehinde Wiley, Patricia Renee Thomas, Reginald Jackson, Robert Pruitt, Greg Breda, Ebony G. Patterson, and Mickalene Thomas, among others. Each item was curated and personally selected in collaboration with the DuSable and Ms. Pounder from her extensive collection specifically for “Diaspora Stories: Selections from the CCH Pounder Collection.”  Bio: Award winning actress CCH Pounder can currently be seen as “Mo'at” in James Cameron's AVATAR: THE WAY OF WATER. Pounder portrayed “Dr. Loretta Wade” on the CBS series, NCIS: NEW ORLEANS for seven seasons and other notable projects include the television shows THE GOOD FIGHT, WAREHOUSE 13, SONS OF ANARCHY, REVENGE, BROTHERS, LAW & ORDER: SVU and HBO's THE NO. 1 LADIES' DETECTIVE AGENCY, which garnered Pounder her fourth Emmy® nomination. For seven years, Pounder portrayed "Claudette Wyms" on the critically acclaimed FX series, THE SHIELD, which earned her many accolades including an Emmy® nomination, the MIB Prism Award," two Golden Satellite Awards and the “Genii Excellence in TV Award.” Other honors for Pounder include an Emmy® nomination for her role as Dr. Angela Hicks on the NBC series ER and an Emmy® nomination for her role in FOX's The X-FILES.  In addition, she received a Grammy® Award nomination for "Best Spoken Word Album" for GROW OLD ALONG WITH ME, THE BEST IS YET TO BE and won an AUDIE, the Audio Publishers Association's top honor, for WOMEN IN THE MATERIAL WORLD. Film credits include HOME AGAIN, RAIN, PRIZZI'S HONOR, POSTCARDS FROM THE EDGE, ROBOCOP 3, SLIVER, TALES FROM THE CRYPT: DEMON KNIGHT, FACE/OFF, END OF DAYS, MORTAL INSTRUMENTS: CITY OF BONES, ORPHAN, AVATAR, GODZILLA: KING OF THE MONSTERS and her breakout role in BAGDAD CAFÉ.  A graduate of Ithaca College, she received an Honorary Doctorate of Fine Arts from the school, was their 2010 Commencement Speaker and in 2021, she received Ithaca College Alumni Association's Lifetime Achievement Award.  Pounder serves on the Board of the African Millennium Foundation and was a founding member of Artists for a New South Africa. An advocate of the arts, she is active in the Creative Coalition and recent accolades for Pounder include the Visionary Leadership Award in Performing Arts from the Museum of the African Diaspora (MOAD) in San Francisco, the 2015 Carney Awards, the Lifetime Achievement Award from Chase Brexton Health Care in Baltimore, 2015 Honoree at the Grand Performances Gala in Los Angeles, the 2016 SweetArts Performing Arts honoree from the Contemporary Arts Center in New Orleans, the National Urban League's 2017 Women of Power Award and the 2018 Bob Marley Award from AFUWI (American Foundation for the University of the West Indies).  In addition to her prolific acting career and advocacy, Pounder has been extensively involved with the arts as a patron, collector, gallery owner and museum founder. Originally from Georgetown, Guyana, Pounder's collection consists of Caribbean and African artists and artists of the African Diaspora. Her collection is heavily concentrated in the area of Contemporary Art but also includes traditional African sculptures. In 1992, Pounder and her husband, the late Boubacar Koné, founded and built the Musée Boribana, the first privately owned contemporary museum in Dakar Senegal, which they gifted to that nation in 2014. Pounder's personal collection contains over 500 works of art, many of which she has loaned to Xavier University of Louisiana for a series of exhibitions and some which were on exhibit at Somerset House in England, Kent State Museum, The Charles H. Wright Museum of African American History in Detroit, MI and The DuSable Black History Museum and Education Center in Chicago. 

On this episode I'm joined by Katherina Olschbaur. I first met Kat in LA when we were deeper into the pandemic and still reeling from life in lock down. We were both following each other on Instagram at the time but had never met in person. I was immediately stuck by Kat's energetic presence and her interesting ideas about the world. Originally from Austria, Kat currently lives and works in LA. Her captivating surrealist paintings draw viewers in with rich luscious colors in striking combinations. Her drawings are an integral part of her painting practice deeply informed by her subjects and conceptual frameworks. Katherina was an artist in residence at Kehinde Wiley's Black Rock residency in Senegal, West Africa in 2021. It's a couple of weeks before her first solo show with Perrotin Gallery in Hong Kong when we sit down at Soho House in New York to talk about her work and practice. 

Mokuhanga is a lot of things. It is a meditative process even at its most chaotic. And a lot like meditation, where you need patience, calm, and to breathe, it is a craft that pushes you to be your best.  I speak with mokuhanga printmaker and author Faith Stone on this episode of The Unfinished Print. Faith's current work is to preserve the Buddha woodblock, a once-thriving tradition within mokuhanga, to preserve it for years to come.  Faith speaks with me about her introduction to Tibetan Buddhist Thangka painting, the history of these beautiful images, her process, tools and materials. She also discusses experimentation, her teachers within her life, and what inspiration means to her.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Faith Stone - website, Instagram Thangka paintings - known as “sacred paintings,” originated from Tibet. They are commissioned for various reasons, some for meditation, prosperity, merit, etc. Depending on the commission, thangka paintings use multiple pigments and imagery. Peaceful or ferocious deities and mandalas can be pictured.  Rudi's Bakery - established in Boulder, Colorado, in 1976, this once mom-and-pop shop bakery serves organic and gluten-free baked goods around the United States.  Celestial Seasonings - is an American tea company based in Boulder, Colorado. It started in 1969.  Colorado - established by settlers in 1876 but initially inhabited by many Native American peoples, such as the Cheyenne, Pueblo, Ute, Comanche, and Apache. The state is known for the Rocky Mountains and the Colorado Eastern Plains. For more information about Colorado, check out its tourist and visitor info here.  Zoo New England - comprises both the Franklin Park Zoo and the Stone Zoo. Founded in 1912, the FPZ is on 72 acres of land in Franklin Park, Boston. The Stone Zoo is 26 acres near the Spot Pond reservoir and located in Stoneham, Massachusetts, about 12 miles (19km) away from each other. More info found here.  Albert Rudolph (Swami Rudrinanda) [1928-1973] - was a spiritual teacher and yogi originallty from New York City.  Pointillism - is a technique in painting conceived by Georges Paul Seurat (1859-1891) and Paul Signac (1863-1935), where small compounded dabs of colour create an image. More info from Sotheby's, here.  Paul Signac - Portrait Of Félix Fénéon 1890, oil on canvas Shiva - is one of the principal deities of Hinduism, which creates, protects, and transforms the universe. More info can be found here. Ganesh - in Hinduism, Ganesh is one of Shiva's offspring. Ganesh is a benevolent deity said to remove obstacles in your life, both spiritually and materially. More info can be found, here. Durga - is, in Hinduism, the mother protector of the universe and a warrior goddess. Depicted with eight hands in the form of a mudra, Durga holds eight weapons. More info can be found, here.  Waves On The Turquoise Lake - was an art exhibition at The University of Colorado at the Boulder Art Museum in 2006. It exhibited Tibetan artists from Tibet and in exile from around the world. Karma Phuntsok - is a contemporary Tibetan artist who lives and works in Australia. His work is his take on Buddhist art and history. More info can be found on his website, here.   Van Buddha - painting El Dorado Canyon State Park - was established in 1978 and is located near Boulder, Colorado. It is 885 acres known for hiking, rock climbing, and mountain biking.  Tara - is one of the most powerful deities in the Buddhist pantheon. Some Buddhist traditions see her as a guide, as a bodhisattva, or as a philosophy of living. Find more info, here. Faith Stone - 22" x 28" Mount Wai'ale'ale - is a volcano on the island of Kaua'i, Hawai'i. The mountain is 5,148 ft. It is one of the rainiest on the planet, with 460 inches of rain annually. Shakti - has many meanings, such as goddess energy, death and life, and the natural elements of the universe. The Aisa Society has an excellent article for a detailed description of Shakti, here. Rama -  is an important deity in Hinduism, and is the seventh avatar of Vishnu.  Shoichi Kitamura - is a woodblock carver and printmaker and has been involved in MI Lab through demonstrations. More info can be found, here.  Kyoto Senbon Torii (2021) Hiroki Morinoue - is a mokuhanga printmaker and artist living in Holualoa, Big Island, Hawai'i. He is a co-founding member of the Holualoa Foundation For Arts & Culture, the establishment of the Donkey Mill Art Center and Studio 7 Fine Arts. Iceberg Cube (2016) Anderson Ranch Arts Center - located in Snowmass, Colorado- was established in 1966 by Paul Solder, who worked in Japanese ceramics called raku. Today it is an international Arts Center with artist-in-residence programs, visiting artists, a print shop, wood turning, master classes and more. Information can be found here.  Information can be found, here.  Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Stone Window -20-3/4" x 17" April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists.  Dark Light (2015) 16.5" x 13.5" MI Lab - is a mokuhanga residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.  Rocky Mountain College of Art and Design - located in Denver, Colorado and was founded by Philip J. Steele in 1963. It is an art school with many different programs and subjects in the arts. You can find more information here.  Mayumi Oda - is a Buddhist teacher and artist who works and lives in Hawai'i. Her work has travelled the world. Mayumi is also an environmental activist and continues to live and work at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. More information about Mayumi Oda's work can be found here. Storyville II - silkscreen, 24.6" x 33.9" Jing Jing Tsong - is an American illustrator of books. She is also a printmaker in lithography and monoprints. You can find her work on her website, here.  Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Hanami no Saku (Tanizaki Utauta Nangasaku - 1956) Bodhisattva - a person who has achieved enlightenment through spiritual practice, whether meditation or through good deeds. The word "bodhisattva" can are found in Indian Buddhism and its associated traditions, as representing the Buddha and his transformations. In the Mahanaya tradition of Buddhism, a bodhisattva desires enlightenment as a buddha.  kozo paper -  is paper made from mulberry bark and is commonly used in woodblock printmaking. Manjushuri - is the bodhisattva of wisom and is associated with the Mahayana tradition of Buddhism.      Faith Stone - 22" x 28"   Vajrakilaya - is a wrathful deity in Tibetan Buddhism who embodies the enlightenment of all Buddhas. Commonly described as a deity with three faces, all with a crown of skulls, with six arms carrying various ritual implements in Tibetan Buddhism.  Cow Rinpoche -  is a painting by Karma Phutsok. This particular series of paintings shows animals in exhalted positions on a lotus. They are depicted like a traditional thangka painting.  Dakini As Art -  is an online art gallery which sells and distributes Buddhist art throughout the world. More info can be found on their website, here. Lakshmi - is a goddess in the Hindu pantheon of deities and is the goddess of wealth and prosperity, sitting on the lotus throne.  Kehinde Wiley -  is a portrait artist based in New York City. His work focuses on fusing the past and the present while creating a dialgoue about power, gender, race and reimagining the past. More information can be found on his website here.  Portrait Of A Young Gentleman (2021) oil on linen and canvas LaToya Hobbs -  is a painter and printmaker based in Baltimore, Maryland. She explores relief printmaking and painting together in her works. Her topics deal with the Black female body and stereotypes. More information can be found on LaToya's website here. Nina's Gaze  - relief, ink and acrylic on wood (2019) 20" x 16" hangintō sizes - the hangitō is a stylized Japanese mokuhanga tool. It is the primary tool in mokuhanga and is used in cutting lines and for colour blocks. It comes in various sizes depending on your ability and the technique. The lower number on the handle signifies the blade's thinness, therefore, the experience of the carver.  kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.   McClains Woodblock Print Supply Co.  - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print interview with Daniel Jasa of McClain's can be found here. floating kentō - is a removable registration system attached to the block when printing. As the kentō isn't affixed to the block, blotting and immaculate borders are positives of this registration method. It is an "L" shape.  baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.  urauchi - is a way of backing Japanese washi paper to the back of works on paper. This process is used in bookbinding, scrolls and can be used in mokuhanga.  Ozu Washi - is a paper store located in the Nihonbashi district of Tokyo. website, Instagram alum -is a binder used in paper mounting, fabric dyeing, household items such as fire extinguishers, and baking powder. It is also used in size for washi to hold pigments better in your works.  Tetsuo Sayama - was an instructor at MI Lab until his passing in 2019. He worked closely with students, was a scholar of Japanese printmaking history, and left an impression on many who got to know him.    Washi Arts is an online brick-and-mortar paper store in Blaine, Washington, USA. They sell Japanese papers for crafts, bookbinding, mokuhanga, and other artistic media. More info can be found on their website here.    Shin-Torinoko paper - is a mass produced, machine made Japanese paper that is relatively inexpensive. It comes in various weights and colours. More info can be found, here.    kitakata - is a specific type of washi made of Philippine gampi, and sulphite pulp. For bookbinding, and mokuhanga and other types of printmaking.  More info, here.    Saraswati -  is the Hindu goddess of knowldedge and dispells ignorance.    monoprint - is a type of relief print which uses metal or glass, even wood. The final outcome is one good print.   Grumbacher - is an art supply company started by Max Grumbacher in 1905  in New York City. It is now owned and operated by Chartpak Inc. More info, here.   Winsor & Newton - is a British artist supply company, started in 1832,  which sells artist materials such as pigments, brushes, paper, etc. More info can be found, here.    M. Graham & Co. - is a company founded in the late 1990's which provides many different types of pigments for all kinds of artists. More info can be found, here.   Da Vinci Paint Co. - was founded in 1975 in Orange County, California. They make an assortment of watercolours, oils, heavy-body and fluid acryl, and gouache. More info here.   Tōsai Pigment Paste - is a brand of pigments manufactured by Holbein, Japan. They were conceived by mokuhanga printmaker Richard Steiner. Tōsai is the name given to Richard by his teacher. Richard's invteriew with The Unfinished Print can be found, here.   Roslyn Kean - is an Australian printmaker who makes her ball bearing baren called the Kean Ball Bearing Baren. The KBB baren comes in two sizes and are lighter than the yuki baren or other ball-bearing barens. Roslyn's baren are made of high-grade plastic. For more information about Roslyn, her work, and baren can be found, here.     Defining The Edge 1 - 70 x 50 cm   sumi - is a rich black stick or liquid used by artists, calligraphers, and traditional Japanese horimono tattoo artists. Sumi is made from the soot of burnt lamp oil. Sumi is used predominantly in key blocks in traditional mokuhanga and to mix pigments. Pigment Tōkyō conducts a great interview with their chief of pigments, Kei Iwaizumi, about sumi ink, here.   tapa cloth - is a designed barkcloth found throughout the islands of the South Pacific, French Polynesia, New Zealand, and Hawai'i, where it is called kapa. Kapa is made slightly differently than tapa; different shapes are used for a more robust design.    Japanese book-binding - in Japan, the binding of books began with scroll books based on the Chinese method. Other binding methods evolved, such as flutter books (sempūyō) and butterfly books (detchōsō). By the Edo Period (1603-1868) and with the relative peace of the period, washi paper was produced steadily, creating a demand for books. Tale of Genji and Tales of Ise were published in this form for the first time. *   shallow carving -  is a way to add dimension and texture to a woodblock. Various sizes of u gouges work well. It can make beautiful shades of colour within your work.    Maile Andrade - is a mixed media artist who has focused on the Hawai'ian kapa process of weaving mentioned above. Kapa, made with mulberry bark, was used for clothing and blankets in Hawai'i. Maile uses kapa in various ways in her 2019 exhibit at the University of Hawai'i at Mānoa, here     Moana (Ocean) - 30.4 x 30.4 cm   mokuhanga brushes - come in a variety of shapes and sizes. Smaller brushes (surikomebake) have long handles and are numbered regarding bristle size, and are used for various sizes of colour blocks. Flat back brushes (marubake), are like a shoe brush and are for wider areas for printing. They also come in various numbered sizes. Brushes are traditionally made of horsehair from the horse's tail, although the smaller surikomebake are made of deer hair. You can find mokuhanga brushes most anywhere today such as McClains, Terry McKenna, Michihamono, Jackson's Art Supplies, and many other places.    sharpening stones - these stones come in a variety of grits, colours, and sizes. Some stones are natural or composite. They vary in price from the ridiculously expensive to the more affordable. Generally, for your mokuhanga you will need a 1000-grit stone to start, and in time you can explore various other methods of sharpening your tools. An excellent video to begin with is Terry McKenna's video on sharpening here.   Karma & Faith: The Artwork of Karma Phuntok and Faith Stone - is the self published book made for their Denver exhibition in 2019.    Tassajara Zen Center -  is a Buddhist monastary and zen center located in San Fransisco. They have published cookbooks since the 1970's.    Tibet House - is a not-for-profit cultural preservation society to preserve Tibetan culture worldwide. There are many Tibet House offices and buildings around the globe. More information can be found at Tibet House US here.    John Lewis  - played a large part in many important events in the civil rights movements of the 1960s in the United States. Was one of the founding members of the Student Nonviolent Coordinating Committee in 1960-1971. More information about John Lewis and his essential work can be found here at Stanford University: The Martin Luther King, Jr. Research and Education Institute.    Kannon - is the deity of compassion in Buddhism.      Kannon Reigen Ki - Ima Kumano Temple from the series The Miracles of Kannon by Utagawa Hiroshige II (1829-1869) 9.6" x 14"   Shoshoni Yoga Retreat - is a yoga retreat in Rollinsville, Colorado. The retreats are much like an ashram experience, with meditation, yoga, meals and selfless service. Find more info here.    * Ikegami, Kojiro, and Barbara B. Stephan. Japanese Book Binding: Instructions from a Master Craftsman. New York etc.: Weatherhill, 1990.   © Popular Wheat Productions opening and closing musical credit - Dropkick Murphy's, Where Trouble Is At. From the album, This Machine Still Kills Fascists (2021) on Dummy Luck Music. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***      

@#$%&! Supervillain SucklordHold onto your seats folks, for a wild ride.  This week Catherine Moore and Skye Becker-Yamakawa sit down with our very own Supervillian Artist known as the Sucklord.  This ‘Anti Artist' Artist discusses how he came to be ‘Suckadelic' and regails us with his moment in stardom as a reality television artist on Work of Art: The Next Great Artist.  We end this episode with the amazing Kehinde Wiley and his Powerful Exhibit, “An Archeology of Silence”.Check out Skye's and Catherine's work at:Skye Becker-Yamakawa IG: https://www.instagram.com/skyesartshop/ Web: http://www.skyesart.com/ Catherine Moore IG: https://www.instagram.com/teaandcanvas/ Web: http://teaandcanvas.com/ Polka Dot Raven IG: https://www.instagram.com/polkadotraven/

Transcript KEHINDE WILEY: This body of work comes as a direct response to the murder of George Floyd. During that time, so many of us had an opportunity to grieve, to reflect. An Archeology of Silence is an archeology of untold stories and lives wasted. It's an American story about brutality and about erasure. My job is to breathe life back into that erased moment. And through that archeology, create something that's perhaps living. TOM CAMPBELL: That was artist Kehinde Wiley. I'm Tom Campbell, Director of the Fine Arts Museums of San Francisco. This exhibition was premiered in Venice, Italy, last spring. It's an absolute honor to be able to bring it for the first time to the United States, where the issues it raises are so timely and important. ABRAM JACKSON: And I'm Abram Jackson, the Museums' Director of Interpretation. My role is to support the museums in telling the most inclusive stories to the broadest audiences. I'm excited to accompany you on our tour of the exhibition today. We'll be joined by the artist himself, and two other wonderful contributors who have had cause to think deeply about the questions he brings up in his work. Let's get started. Our next stop will be a bronze sculpture of a young man in a hoodie titled “Dying Gaul” – you'll find it right inside the first gallery.

Transcript ABRAM JACKSON: “An Archaeology of Silence”. Kehinde Wiley gave this title both to this monumental sculpture – and to the exhibition itself. There's so much to think about here. Find space nearby where you'll be comfortable for a few minutes, while we hear from the artist and Hodari Davis. KEHINDE WILEY: The point is to use the language of the monumental to say that we are in deep crisis. You, the viewer, have to come to terms with regards to how we see the Black body. Here, it's devoid of life, yet the horse is still rearing, it's still moving. HODARI DAVIS: It's almost like, which represents you? Are you this horse of Empire that we've seen so many times, marching over so many cities, all over the world? Or this body on the back of this horse? So many of us have been educated to see the horse. To pledge allegiance to that horse, to be proud of the accomplishments of that horse. And to actually not see this body on the back of that, actually not see it at all. ABRAM JACKSON: The statues of Civil War generals on horseback in Richmond, Virginia, have been taken down, following protests after the murder of George Floyd in 2020. But Wiley's experience of them a few years earlier, caused him to think deeply about artworks that can hold so much power. KEHINDE WILEY: They were produced oftentimes in the 1920s, 1930s, as a means of terrorizing the Black population of the South. I wanted to recreate that language - I wanted to breathe it in, and to exhale something differently. Archeology is the act of pulling the past into the present. And I think that so much of what happened in the aftermath of the brutal murder of George Floyd has to do with us recognizing his humanity, the humanity of so many of us who happen to look like him, generations of people who've suffered under chattel slavery, and the presence of Empire. Is it all about destruction? – No. It's certainly about human capacity to heal and to rebuild. It's about a resilience that has been our saving point for generations. My work is about creating strategies of shining. Strategies of mining terrible histories, and creating new fields of providence. HODARI DAVIS: So, what happens when people encounter this? I know that art can make hard conversations really easy and easy conversations really difficult. That's art, right? Just it being presented to the world changes what we think about, changes how we think, changes the conversations that we would have, or wouldn't be having, if we weren't so provoked. That's the power of art. ABRAM JACKSON: This is the last room in the exhibition, and the end of the audio tour. But it's by no means the end of the conversation. There are several additional resources to help make sense of this powerful exhibition, including a critical reflection space in the Piazzoni Murals Room. It's downstairs on the first floor, right outside of Wilsey Court. There is also a short film about Kehinde Wiley's journey and artistic process that can be accessed on the exhibition webpage. We would like to thank all of our interviewees: the Reverend Wanda Johnson of the Oscar Grant Foundation, Hodari Davis of Edutainment for Equity, Curator Claudia Schmuckli, and the of course, the artist himself. The audio tour is underwritten by Google.org, enabling all visitors to access it for free. The audio tour was narrated by me, Abram Jackson. It was written and produced by Frances Homan Jue and sound design is by Dennis Hysom. Thank you for listening. Image: Kehinde Wiley, “An Archeology of Silence” (detail), 2021. Bronze, Overall, approximate: 161 7/16 x 59 1/16 x 200 13/16 in., 2 Ton 1,363.79 lb. (410 x 150 x 510 cm, 2,433 kg), Footprint: 48 13/16 x 135 7/16 in. (124 x 344 cm), Base: 11 13/16 x 88 3/16 x 174 13/16 in. (30 x 224 x 444 cm), Horse body: 1 Ton 339.08 lb. (1,061 kg), Horse legs: 1 Ton 120.83 lb. (962 kg), Figure: 903.89 lb. (410 kg). © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni

Transcript WANDA JOHNSON: My name is Wanda Johnson. I'm the mother of Oscar Grant that was killed January 1st, 2009, at the Fruitvale BART Station in Oakland, California. ABRAM JACKSON: Oscar Grant was shot in the back and killed by a BART police officer that night. This sculpture, titled “Youth Mourning”, is especially resonant for his mother. WANDA JOHNSON: When he was killed, this “Youth Mourning” was his friends. Mourning for the loss of a loved one. Mourning for the loss of a friend, mourning for the loss of a family member. Never to go back, to be able to call this person and talk to this person. Never to go back, to be able to joke and laugh and eat with this person. But now, having to face being alone. They laid on the platform and at the hospital, mourning, all of us mourning, but having the question of why? “Youth Mourning” seems to read: I should have peace. I should be able to live in freedom, not have to cover up who I am, being identified and targeted because of my appearance. I shouldn't have to have a hoodie on or a hat on, so that you can't see the real me. I begin to think about how so many of our people have had so much strength and so much zeal and just different gifts and talents and abilities, but yet lose their lives senselessly. And now all those gifts, their talents, their bravery, is buried in the ground along with them. Like this “Youth Mourning”, many mornings, many evenings, this was me. Balling up, praying unto God. Why did it have to happen? And 13, 14 years later, that question still resonates - why did you have to pull out your gun and shoot him when it wasn't necessary? ABRAM JACKSON: When you're done in this space, move through to the last, momentous room in the exhibition. I'll meet you there to talk about the figure on horseback. Kehinde Wiley (American, born 1977), “Youth Mourning (El Hadji Malick Gueye),” After George Clausen, 1916, 2021. Bronze, 14 3/16 x 16 9/16 x 31 7/8 in., 136.69 lb. (36 x 42 x 81 cm, 62 kg), base: 35 7/16 x 25 9/16 x 40 3/8 in. (90 x 65 x 102.5 cm). © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni

Transcript ABRAM JACKSON: The blue and white flowers in the lower right corner of this painting clue us in to its inspiration. Wiley pulled this figure's pose from a painting of a story from classical mythology. It's by the 18th century Italian artist, Tiepolo. It portrays the death of Hyacinth, a young mortal transformed into flowers after his death by the god Apollo, who loved him. Tiepolo's painting is full of other details that Wiley chose to leave out – classical archways and statues, cherubs and gods. His interrogation of the forms, symbolism and significance of paintings by his artistic heroes goes right back to his childhood in Los Angeles. KEHINDE WILEY: I first discovered Old Master painting when going to the Huntington Library and Gardens in Los Angeles. Those old collections had some amazing portraits of landed gentry, aristocrats, these powdered wigs and lapdogs and pearls - all of these signifiers of power that seemed so distant. But at the same time, the technical mastery of it was so good that it drew me in. So from a very early age, I had this kind of fascination with the bombastic nature of the portraits, the unabashed, defiant sense of resplendence that they were having. They were just so proud and so bold, and so in your face, all the blinging. It really reminded me of some of the attitudes that early Hip Hop was criticized for having - the garish nature, the bombastic chest beating. What I love about being an artist is you're able to colonize that space. You're able to enter that door and decide to rearrange the furniture. What I wanted to do was to take the language of classic Western European easel painting and to embody that language, to be able to position people who look like me within that field of power. ABRAM JACKSON: Our next audio stop is at the bronze sculpture of a young man kneeling, his head in his hands. Image: Kehinde Wiley (American, born 1977), “The Death of Hyacinth (Ndey Buri Mboup),” 2022. Oil on canvas, 93 9/16 x 144 3/16 in. (237.7 x 366.2 cm), Framed: 104 5/8 x 155 3/16 x 3 15/16 in. (265.7 x 394.2 x 10 cm). © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni

Transcript ABRAM JACKSON: A tender, realistic portrayal of a Roman Christian Martyr dead in her tomb was Wiley's starting point for this figure. The artist has long been interested in experimenting with backgrounds – here, he's decided to fill it with poppies. KEHINDE WILEY: Historically, backgrounds have been: powerful man sitting on his land - everything's a possession. It's, the animals are my possession, the house is my possession. I decided to fill it with this decorative floral. It's the emptying out of all of that anxiety surrounding possession, and to fill it with the simple act of growing itself. ABRAM JACKSON: The poppies' vivid colors complement the warm highlights on the figure's skin. Wiley, with Black American roots from his mother, and Nigerian roots from his father, has spent time in West Africa recently, and many of his models for works in this show are from Senegal. KEHINDE WILEY: Africa's had a huge impact on my work because I go to the marketplaces and I see fabrics that are inspiring, I see colors that are inspiring, histories and botanicals that don't exist in my work before. I also see different types of Blackness that exist there. I learned how to paint skin by using whiteness as the model through which the world is seen. There is no real tradition of painting Black skin in western easel painting and so you have to make that up yourself - that's creating a vocabulary of Blackness, a playbook of Blackness. One of the cool things about my shows is that you start to see young Black and Brown kids showing up in the museums, as though that institution were there for them. And it should be. ABRAM JACKSON: Once you're finished in this space, go back through the previous gallery. As you pass the huge painting of the man in a yellow shirt, turn right. Our next stop is a painting of a woman in a red top, seated on an orange cloth. Image: Kehinde Wiley (American, born 1977), “The Virgin Martyr Cecelia (Ndey Buri),” 2022. Oil on canvas, 77 3/8 x 143 3/4 in. (196.6 x 365.2 cm), Framed: 88 7/16 x 154 13/16 x 3 15/16 in. (224.6 x 393.2 x 10 cm). © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni

Transcript ABRAM JACKSON: For many years now, Kehinde Wiley has been diving into western art history for inspiration. He turns it inside out and upside down, shaking out its conventions and symbolism, questioning its purpose. And he forges its elements into something new, resplendent, and completely his own. This figure's pose echoes an 18th century French painting of a Roman god of sleep. Here's curator Claudia Schmuckli: CLAUDIA SCHMUCKLI: So you have this idea of the fallen angel which is asleep, that's somewhere between, I guess, the earthly and the heavenly. And if you think about Wiley's very purposeful rendition of his models to be looked at as both sanctified victims and survivors of systemic violence against Black people, the way that they're rendered aims at transcending that vulnerability, transcending the state in which they are depicted, and to elevate them into a heavenly state, or aura of sacredness that lies somewhere between life and death, heaven and earth. KEHINDE WILEY: What I'm trying to do ultimately is to play with the language of power: who deserves to be on the walls of a museum? Everything is political. Art is a means through which you can point to things in the world. ABRAM JACKSON: When you're done in this gallery, please head out through the first doorway on the right. You'll see a very large painting of a man in a yellow shirt – that's our next stop. Image: Kehinde Wiley (American, born 1977), ”Sleep,” 2022. Oil on canvas, 69 15/16 x 107 15/16 in. (177.7 x 274.2 cm), Framed: 70 7/8 x 118 7/8 x 3 15/16 in. (180 x 302 x 10 cm). © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni.

Transcript ABRAM JACKSON: Gazing downward, his arm braced on his leg, this young man embodies quiet strength. Self-possession. It's partly inspired by a 2000-year-old Roman sculpture. “The Dying Gaul” portrays a fallen opponent of Attalus I of Pergamon in a similar pose, showing composure in the face of death. Wiley re-envisions that sculpture in the form of a young Black man, leaving us to imagine what moment he may be confronting, with courage and fortitude. This sculpture resonates strongly with the Reverend Wanda Johnson. Her son Oscar Grant was killed by a BART police officer, at Fruitvale Station in Oakland, in 2009. WANDA JOHNSON: I think about Oscar's friends the night when he was on the platform, and then seeing his friends get abused by the police officer, I seen his strength. And how he seen the injustice. And he stood up, not knowing that that would be his last time to stand up. But yet willing to die for his friends, because of standing up for what was right. ABRAM JACKSON: All the art we'll see today was made in the last year or so. It's a response to the murder of George Floyd, and to the state-sanctioned violence directed at so many other Black people in this country. Here's the artist: KEHINDE WILEY: It resonates here because this is our present. We need to be able to come to terms with so many people being slain in our streets - we have to come to terms with state power. Each one of these losses is handled and dealt with by families and by loved ones who hopefully will carry the individual significance of those people on. But the job of my work is to be able, not to just create a political statement, but to create a much more personal, poetic, spiritual one, that talks about the humanity of all of us, that talks about the ties between those great historical, monumental European works, and some of those great historical, monumental, young Black and Brown kids who surround us every day. It's the desire to be seen, the desire to be alive, that the work is about. ABRAM JACKSON: Our next audio stop is the oval painting nearby, of a man in a red shirt and white cap. Image: Kehinde Wiley (American, born 1977), “Dying Gaul, After a Roman sculpture of the 1st Century,” 2021. Bronze, 21 1/16 x 18 7/8 x 47 1/16 in., 156.53 lb. (53.5 x 48 x 119.5 cm, 71 kg), base: 35 7/16 x 27 9/16 x 55 1/8 in. (90 x 70 x 140 cm). © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni

Today, we sit with renowned artist Kehinde Wiley on the opening night of Colorful Realm, his new exhibition at Roberts Projects in Los Angeles. At the top, Wiley walks through the Japanese influence behind his latest paintings (5:05), his upbringing in South Central Los Angeles (10:36), and the profound impact of artist Kerry James Marshall's 1993 piece De Style (12:57). Then, he reflects on a formative MFA program at Yale (19:41), his residency at the Studio Museum under Thelma Golden (19:41) and how he began casting portrait subjects from the streets of New York City (22:42). On the back-half, we discuss Wiley's 2001 piece Conspicuous Fraud #1 (Eminence) (26:02), the guiding philosophy behind his work (27:48), his enduring portrait of former President Barack Obama (32:07), and what he hopes to create in years to come (34:55).See omnystudio.com/listener for privacy information.

On this episode I'm joined by Jeffrey Meris, the New York-based artist whose paintings, sculptures, and conceptual work draw on his lived experiences.  Meris was recently announced as one of this years winners of the prestigious and highly coveted Studio Museum of Harlem residency which has seen the likes of heavy hitters such as Chakaia Booker, David Hammons, Kerry James Marshall, Julie Mehretu, Mickalene Thomas and Kehinde Wiley partake in its program. Formally Jeffrey Meris is an artist who works across sculpture, installation, performance, and drawing to consider ecology, embodiment and various lived experiences while healing deeply personal and historical wounds. 

There are whole histories of African American artists wrestling with stereotypical depictions and minstrelsy - and it seemed worthy anyway to me as an artist to consider them as some kind of artwork. American painter and silhouettist Kara Walker rose to international acclaim at the age of 28 as one of the youngest-ever recipients of a MacArthur Genius grant. Appearing in exhibitions, museums, and public collections worldwide, Walker's work wrestles with the ongoing psychological injury caused by the legacy of slavery.  In this episode, Walker shares how she navigates her own inner conflicts, how a curiosity for history led her to the silhouette, and what happens when making use of symbols of Black servitude brings one acclaim.  References: Buster Browns RISD - Rhode Island School of Design My Complement, My Enemy, My Oppressor, My Love University of the Pacific Robert Wilson Einstein on the Beach Stanley Whitney Glen Ligon Kehinde Wiley

What do Sterling Ruby, Oscar Murillo, Kennedy Yanko, and Aomoako Boafo have in common? Beyond being some of the most sought-after contemporary artists of the last decade, they are all veterans of the prestigious Rubell Museum Residency program. Helmed by its namesake founders, the mega-collecting duo Don and Mera Rubell, the residency program is something of a hit-maker—call it "the Rubell effect." Beyond minting art-market stars, the Rubells now have two museums, a 100,000 square-foot campus with more than 50,000 square-footage dedicated to galleries in Miami's Allapattah, and a newly opened 32,000-square-foot outpost in Southwest Washington D.C. The Rubell's art collecting began when they were newlyweds who would squirrel away $25 from Mera's teaching salary to put toward acquisitions while Don was in medical school. Now, along with their son Jason and daughter Jennifer, they own one of the largest private collections of contemporary art in the world, with more than 7,400 works of art by the likes of Kehinde Wiley, Jean-Michel Basquiat, and Catherine Opie. On the heels of their DC museum's grand opening, and just weeks before they will hold court at Art Basel in Miami Beach, Artnet News's senior reporter Katya Kazakina caught up with Don, Jason, and Mera to discuss the origins of their collection, the symbiotic relationship between art and real estate, and their famous Midas touch for sussing out the hottest emerging artists.

Olivia and Raven read and respond to written descriptions of 5 works by Black portrait painter, Kehinde Wiley. They share their interpretations of the various elements in the paintings, and talk about the significance of finding detailed descriptions of visual art. --- Learn More! Kehinde Wiley AMERICAN PAINTER https://www.theartstory.org/artist/wiley-kehinde/ --- Email us! isquaredhello@gmail.com. | Follow us!  Instagram https://www.instagram.com/isquaredpodcast/ | Twitter @I_squaredpod https://twitter.com/I_SquaredPod | Facebook page http://www.fb.me/ISquaredPod   Episodes Referenced: Black Beauty Highlight: Kehinde Wiley https://isquared.podbean.com/e/black-beauty-highlight-kehinde-wiley/ | United Daughters of the Confederacy, and Upholding White Supremacy https://isquared.podbean.com/e/united-daughters-of-the-confederacy-and-upholding-white-supremacy/ | Black Feminism Part 1: Discrimination In Women's Liberation, and Black Liberation https://isquared.podbean.com/e/black-feminism-part-1-discrimination-in-women-s-liberation-and-black-liberation/

Raven highlights this portrait painter, who uses his work to portray Black people in a heroic and empowering manner, often reusing familiar historical images to center Black people, their cultures, and histories.     Learn More! KEHINDE WILEY https://kehindewiley.com/ | Kehinde Wiley AMERICAN PAINTER https://www.theartstory.org/artist/wiley-kehinde/ | Email us! intersectionalinsights@gmail.com. | Follow us!  Instagram https://www.instagram.com/isquaredpodcast/ | Twitter @I_squaredpod https://twitter.com/I_SquaredPod | Facebook page http://www.fb.me/ISquaredPod

Delali Ayivor brings fun to the archive! In this conversation, we talk about her practice in information technology; family history and recipes in iPhone notes; creative tips for free writing; and her current project, Consideration, which mines her Facebook for 8th grade conversations. To top it all off, she reads one of her poems, IBID. Delali is a poet writing for Black women and those who hope to love them. Delali has been a U.S. Presidential Scholar in the Arts and was a member of the second cohort of Kehinde Wiley's Black Rock Senegal residency. A 2020 Tin House Summer Workshop Scholar, and a resident at Atlantic Center for the Arts with Tracie Morris and at the STONELEAF Retreat. Her new book, She is this, is available from King's Leap Editions. Also check out her two new poems in The Iowa Review Delali's work is online at DelaliAyivor.com and on Instagram @_laney.boggs ---------------------- Have something you want to share? It's easy. Send a voice message here! No logging in required. 1-800-POWERS is written and produced by artist, writer, and performer Lex Brown. Visit her website www.lexbrown.com or Instagram at @lex_brown_ Animations by Nora Rodriguez Music by Ben Babbitt --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/1-800-powers/message

Talk Art Season 13 continues with a broadcasting LEGEND!!! We meet Clara Amfo, one of British radio and television's most dynamic voices and faces. An award winning broadcaster, podcaster and television presenter best known for her work on BBC Radio 1, where she hosted the official chart and the world famous Live Lounge. She currently hosts Future Sounds, breaking the new music from rising and established musicians.A little known fact about Clara is that she collects art and is friends with many artists. Her brother also collects art and photography and his record collection even inspired the teenage Clara to get into the artistic side of music - including the album artwork of Lauryn Hill. We discuss the art scene in Accra, the awesome capital of Ghana. We learn about Clara's art collection and why she is an advocate for living with art at home - from postcards to prints to unique paintings! We learn about her new role as Trustee of Royal Academy of Arts in London's Green Park and how she's been brainstorming about how to make art more accessible for everyone.During the pandemic, Clara collaborated with the Serpentine Gallery during their major survey of British-Ghanaian photographer James Barnor. Clara is a big fan of Barnor's work, whose career spans six decades, two continents and numerous photographic genres through his work with studio portraiture, photojournalism, editorial commissions and wider social commentary. Clara also introduces us to the work of Ted Pearce aka Ted's Draws known for illustrations of iconic musicians, as well as Josephine Chime, a contemporary painter who has in recent years created portraits of Clara's mother and father.She remembers an Inspiring studio visit to the Brixton-based artist Abe Odedina. We explore why art exhibitions are the perfect venue for dating and Clara reminisces about memorable exhibitions she's visited such as Faith Ringold, Kehinde Wiley at the National Gallery and Lubaina Himid's current solo exhibition at Tate Modern and the impact that Yinka Ilori's 'Better Days Are Coming I Promise' public artwork had on London during lockdown.Follow Clara on Instagram: @ClaraAmfoVisit her official website: www.claraamfo.comLearn more about the Royal Academy and the Summer Exhibition 2022 at @RoyalAcademyArts See acast.com/privacy for privacy and opt-out information.

In this week's episode, Jennifer chats with Diana Gonzalez-Morett & Akilah ‘AK' Walker about all things making a short film – from writing and directing to producing and fundraising to casting and shooting to everything in between! They unpack resources and give insight to anyone hoping to embark on the creative undertaking and endeavor of short filmmaking. About Diana: Diana Gonzalez-Morett is a creative producer, writer, actress, and caregiver. Diana finds creative strength in her fluidity as a multi-hyphenate and is passionate about supporting creative visions. In 2020 Diana and partner Akilah ‘AK' Walker co-founded Good Mother Films a BIPOC women-led creative company that specializes in producing personal stories told with emotional depth, bold artistry and always considering its social impact. The company produced its first award-winning short film, ‘Ivar Tunnel: Shook Ones' in 2021. When she is not filmmaking Diana works as a teaching artist/director for Bergen Performing Arts Center and administratively for Lotus Arts Management, one of the country's premier dance agencies. Diana is currently based in New Jersey where she is a caregiver for her mother living with Frontotemporal dementia (FTD). It would be unfair to not acknowledge that she does all of this with the help of her loyal chihuahua, Lupita.   About Akilah: Akilah “AK” Walker is an actress, writer/director, and creative producer fascinated by the performative, the magical and the absurd--especially as it relates to people of the Black diaspora. Akilah is one out of the 16 actors chosen to be a part of the 2020 ABC Discovers Talent Digital Showcase. Chosen out of 25,000 submissions and 2,500 auditions! This is ABC's first-ever digital showcase! Akilah holds an MFA in acting from American Conservatory Theater in San Francisco as well as a BA in Acting from Fordham University. Akilah has previously performed with Classical Theatre of Harlem, New York Stage & Film, and Berkeley Repertory Theatre, just to name a few. On film, she can be seen in 'Under The Lantern Lit Sky' from Emmy-nominated director Jaclyn Bethany and 'Sorry To Bother You' helmed by the legendary Boots Riley. Originally from Atlanta, Akilah A. Walker is now proud to call Los Angeles home. Akilah A. Walker is also a muse, as she posed as the basis of renowned contemporary artist Kehinde Wiley's sculpture 'Bound' which opened at the Brooklyn Museum in 2015. Akilah A. Walker is what you might call "Quad-Coastal", splitting her time between Los Angeles, New York, San Francisco, and Atlanta. Diana IG: @dianalaurengm Akilah IG: @akthewayy ITSO IG: @itsofilm All things “Ivar Tunnel Shook Ones”: https://linktr.ee/IvarTunnelShookOnesFilm Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

In this week's episode, we're joined by Sheetal Prajapati, who is an educator, artist and advisor.