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2 episodes with Lorna Simpson
2 episodes with Lorna Simpson
2 episodes with Lorna Simpson
4 episodes with Lorna Simpson
2 episodes with Lorna Simpson
2 episodes with Lorna Simpson
Episode No. 707 of The Modern Art Notes Podcast is a holiday weekend clips episode featuring artist Lorna Simpson. The Metropolitan Museum of Art, New York is presenting "Lorna Simpson: Source Notes," a survey that focuses on paintings that Simpson has made over the last decade. Across more than 30 works, "Simpson" spotlights the artist's explorations of gender, race, identity, representation, and history. The exhibition, which is on view through November 2, was curated by Lauren Rosati in "close collaboration with the artist." The exhibition catalogue was published by the Met. Amazon and Bookshop offer it for about $40-45. This conversation was taped in 2017 on the occasion of “FOCUS: Lorna Simpson," at the Modern Art Museum of Fort Worth. The exhibition featured new work that juxtaposes beauty and promise with disaster and upheaval, often in the context of the representation of black women in Ebony magazine from the 1950s to the 1970s. It was curated by Alison Hearst. Instagram: Lorna Simpson, Tyler Green.
New York-born artist Lorna Simpson began her career as a photographer, but has recently spent her time painting. Her new solo exhibition at the Met is called "Lorna Simpson: Source Notes," which is how she refers to the found images that comprise her more than 30 works on view. The exhibition is open now through November 2.
I am so excited to say that my guest on the GWA Podcast is the esteemed American artist, Lorna Simpson. Working across photography to painting, video to collage, Simpson is a multimedia artist who – since the 1980s – has gained widespread acclaim for her pioneering approach to conceptual photography. Whether it's fusing text with image, obscuring her subject's identity, using techniques such as repetition, collage or manipulation – Simpson has conjured a plethora of ways to reinvent the image, and, by doing so, raises questions about gender, race, memory, and history. Her work, mostly centred on the female body, is full of seemingly open-ended narratives – as she has said: “I think the idea of identity or persona is interesting to me in that it is malleable and fluid. And that has always been part of the work in terms of [thinking about] who gets to determine who we are. Do we get to determine that, and what are the parameters of that, given the society that we live in?” Engaging with found images and objects, whether that be cut-outs from Ebony or Jet Magazines, or photographs she finds on eBay, which she melds with inks or collages of jewels, Simpson has continuously reconfigured what painting and photography means. Born in 1960, and raised in Queens and Brooklyn in a childhood that put the arts first, Simpson received her BFA from the School of Visual Arts, New York, and following that, an MFA from the University of California San Diego, where she began to focus on the portraits of Black women she found in magazines, adding suggestive phrases from elsewhere. By 1990, she had a major exhibition at MoMA, and throughout the decades has continued to push boundaries with her seemingly limitless approach to materials. But in 2015, she turned to painting, showing her first nine-feet-tall canvases at the Venice Biennale, and this month will present a major exhibition – that considers the entirety of her painting practice – at the Metropolitan Museum of Art here in New York – where we are recording today. Titled “Source Notes”, it will feature Simpson's monumental and spellbinding paintings, which, steeped in monochromatic blues, silvers, blacks and greys, appear in settings that evoke the cosmological or natural world. An extension of her photographic work, Simpson's paintings see the manipulated figure and body pressed into landscapes akin to waterfalls or meteorites, and I can't wait to find out more… https://lsimpsonstudio.com/ Lorna Simpson: Source Notes – https://www.metmuseum.org/exhibitions/lorna-simpson-source-notes?utm_source=google&utm_medium=cpc&utm_campaign=&utm_term=lorna%20simpson%20art&utm_content=39536&mkwid=s&pcrid=743882408399&pmt=b&pkw=lorna%20simpson%20art&pdv=c&slid=&product=&gad_source=1&gad_campaignid=22399716678&gbraid=0AAAAADmlGN7UtMbglt7UAR4dicGAOa9Vx&gclid=CjwKCAjw24vBBhABEiwANFG7ywIA72_JjPaxVUdfQSWW_h8NFYNWzddlSHz6KV38M9zgiG4rs_9UNxoCVFkQAvD_BwE https://www.hauserwirth.com/artists/2860-lorna-simpson/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Music by Ben Wetherfield
My intention inside this episode is to reflect, alongside you, on my own journey toward softening inside the sacred practice of bearing witness — both to myself and to each other's becoming. Witnessing myself was painful at first. I was confronted with all the ways I had invented masks sacrificing my comfort while prioritizing the comfort of others, who oftentimes were loved ones. Parents, friends, partners, co-workers, peers, teachers, family members, roommates, the list goes on. When confronting all the layers I had assembled out of survival, I realized I was unrecognizable to myself. I cycled through periods of shame, rage, grief, and ultimately grounded inside compassion. When I stopped running from my authentic self, I was able to face her and in that stillness become a compassionate witness. No longer afraid of my own darkness, longings and desires — terrified that they were threats to my survival — another way forward opened. Inside this compassionate witnessing I realized all my fears held keys to something beyond survival, something like belonging. Through this witness work I began to create safety inside myself. Through this witness work I began to collaborate with loved ones, instead of hide from them, and created safety in my home. Then it spilled over to our neighbors, our streets, our schools. But it started with bearing witness inside the sacred act of coming home to myself again and again. My intention inside this episode is to remind us, worldbuilding happens on various scales of intimacy.ResourcesDownload the Creative Offer Questionnaire to Oneself: https://www.seedaschool.com/questionnaireSubscribe to the Seeda School Substack: https://seedaschool.substack.com/Follow Ayana on Instagram: @ayzacoFollow Ayana on Threads: @ayzacoFollow Seeda School on Instagram: @seedaschoolCitationsDear Mazie, exhibition curated by Amber EsseivaDear Mazie, program “IT'S ALL OUT OF MY ARMS: An Activated Honoring”“Dropping the Mask”, Hidden Brain episodeBrendane A. Tynes's Instagram post on mirror and witness workKaren M. Rose's Instagram post on Venus retrograde, mirror work and ancestral venerationCover Art: Written (2021) by Lorna Simpson. Materials: Collage on paper Dimensions: 15 15/16 x 11 1/16 in (40.5 x 28.1 cm)
Episode No. 684 features curators Akili Tommasino and Mark Mitchell. Tommasino is the curator of "Flight into Egypt: Black Artists and Ancient Egypt, 1876-now" at the Metropolitan Museum of Art, New York. The exhibition examines how Black artists and other cultural figures have engaged with ancient Egypt from the American centennial, through the Harlem Renaissance, to the present. "Flight into Egypt" is on view through February 17, 2025. The fascinating catalogue was published by the Met. Amazon and Bookshop offer it for $45-50. Artists in the exhibition who are previous MAN Podcast guests include: Lauren Halsey; Julie Mehretu: Episode No. 82, No. 255; No. 417; Robert Pruitt; Betye Saar; Lorna Simpson; and Fred Wilson. Mitchell curated "The Dance of Life: Figure and Imagination in American Art, 1876-1917," which is at the Yale University Art Gallery through January 5, 2025. The exhibition looks at how two generations of post-Civil War artists adopted the human figure as their focus (partly in response to the mass death of the Civil War era). "The Dance of Life" particularly focuses on studies related to artistic commissions for major US public sites such as the Boston Public Library, the Library of Congress, Washington, and the Pennsylvania state capitol in Harrisburg. YUAG published a valuable catalogue It's available from Amazon and Bookshop for $50-60. Instagram: Akili Tommasino, Tyler Green. Air date: December 12, 2024.
Curator Ekow Eshun reframes the Black figure in historic and contemporary art, surveying its presences, absences, and representations in Western/European art history, the African diaspora, and beyond, via The Time is Always Now (2024). In 1956, the American author James Baldwin wrote: ‘There is never time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now.' Heeding Baldwin's urgent call, Ekow Eshun's new exhibition brings together 22 leading contemporary African diasporic artists from the UK and the US, whose practices emphasise the Black figure through mediums such as painting, drawing, and sculpture. These figurative artists and artworks address difficult histories like slavery, colonialism, and racism and, at the same time, speak to contemporary experiences of Blackness from their own personal perspectives. Ekow explains how artists like Kerry James Marshall, Amy Sherald, and Thomas J. Price acknowledge the paradox of race, and the increased cultural visibility and representation of lived experiences. Beyond celebration, though, The Time Is Always Now follow the consequences of these artists' practices, and what is at stake in depicting the Black figure today. We discuss the plurality of perspectives on view, and how fragmented, collage-like works by Nathaniel Mary Quinn, Lorna Simpson, and Titus Kaphar reconsider W.E.B. Du Bois' understanding of ‘double consciousness' (1897) as a burden, to a 21st century vantage point. Ekow shares the real people depicted in Michael Armitage's surrealistic, religious scenes, whilst connecting works with shared motifs from Godfried Donkor's boxers, to Denzil Forrester and Chris Ofili's dancing forms. We talk about how how history is not just in the past, and how we might think more ‘historically from the present'. Plus, we consider the real life relationships in works by Njideka Akunyili Crosby and Jordan Casteel, - and those shared between artists like Henry Taylor and Noah Davis - shifting the gaze from one of looking at, to looking with, Black figures. Starting at the National Portrait Gallery in London, The Time is Always Now: Artists Reframe the Black Figure travels to The Box in Plymouth from 28 June to 29 September 2024. It will then tour to the Philadelphia Museum of Art and North Carolina Museum of Art in the US into 2025. And as promised, some news - this episode announces my appointment as Contemporary Art Curator at The Box in Plymouth. Join me there in conversation with Ekow on Saturday 29 June, and with Hettie Judah, curator and writer of Acts of Creation with exhibiting artists Barbara Walker, Claudette Johnson, and Wangechi Mutu, on Saturday 20 July. You can also join a Bitesize Tour on selected Wednesdays during the exhibition. And you can hear this episode, and more from the artists, on the Bloomberg Connects app by searching ‘The Box Plymouth'. EMPIRE LINES will continue on a fortnightly basis. For more about Claudette Johnson, hear curator (and exhibition text-contributor!) Dorothy Price on And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath. Hear curator Isabella Maidment on Hurvin Anderson's Barbershop series (2006-2023) at the Hepworth Wakefield. Read about that show, and their work in Soulscapes at Dulwich Picture Gallery in London, in recessed.space. Hear Kimathi Donkor on John Singer Sargent's Madame X (1883-1884) and Study of Mme Gautreau (1884) at Tate Britain in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines
THIS WEEK on the GWA Podcast, Katy Hessel interviews Catherine Morris of the Brooklyn Museum, on the great artist JUDITH SCOTT – launching on what would have been Scott's 81st birthday!! Scott (1943–2005) was an American artist hailed for her fibre-based sculptures that merge wheels, trolleys, locks and chairs with bundles of threads, and whose brilliantly inventive methods and obsessively spun sculptures cocoon found objects. They also served as a form of communication – which is particularly extraordinary for someone who couldn't hear or speak verbally. A twin – her sister Joyce was born without disabilities – Scott was deaf and had Down syndrome, and through her art, which she discovered later in life, was able to communicate to the outside world. From the age of seven, she was placed in a series of institutions, enduring horrific conditions for more than 35 years. Sadly, she was born before the kind of legal protections that were implemented after scandals such as Willowbrook, a New York facility in which disabled children were brutalised, while the disability rights campaign, which took place in tandem with other social justice movements of the 60s and 70s, was some way off. It wasn't until 1985, when Joyce became her legal guardian and enrolled her at Creative Growth, that Scott turned to art. While she made nothing for her first two years at the centre, after taking part in a fibre art workshop she became obsessed by threads, spending every day until her death fastidiously wrapping and spinning fibres around objects, transforming them into her extraordinary creations. I'm thrilled to be able to speak to Catherine Morris, who curated a great exhibition of Scott's work at the Brooklyn Museum. Morris holds the post of a feminist art specialist at the Brooklyn Museum, and has co-curated and curated numerous groundbreaking exhibitions – such as Lorraine O'Grady, We Wanted a Revolution: Black Radical Women, 1965-1985; Lucy R. Lippard and the Emergence of Conceptual Art… Worked on projects with Marilyn Minter, Zanele Muholi, Lorna Simpson, Kiki Smith, and Cecilia Vicuna, as well as the major head-lining-grabbing show, It's Pablomatic: Picasso According to Hannah Gadsby at the Brooklyn Museum last year. ENJOY! -- LINKS: https://www.brooklynmuseum.org/exhibitions/judith_scott/ https://creativegrowth.org/ https://art21.org/artist/judith-scott/ https://www.youtube.com/watch?v=4_n-8P_4IeE&t=66s&ab_channel=BetsyBayha https://americanart.si.edu/artist/judith-scott-31169 https://www.theguardian.com/artanddesign/2024/apr/29/how-judith-scott-escaped-a-life-in-institutional-isolation-to-become-a-great-sculptor -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield
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.
I Like Your Work: Conversations with Artists, Curators & Collectors
Marc Mitchell holds a M.F.A from Boston University. His work has been included in exhibitions at the Schneider Museum of Art, Southern Oregon University; University of Wisconsin, Madison; University of Alabama, Tuscaloosa; Florida Atlantic University Galleries, Boca Raton; TOPS Gallery, Memphis, TN; GRIN Gallery, Providence, RI; Laconia Gallery, Boston, MA; and others. Mitchell has been featured in publications such as the Boston Globe, Burnaway, and Number Inc; and was selected for New American Paintings in 2014, 2017, 2018, and 2020. Mitchell has been an Artist-in-Residence at the Banff Center for Arts & Creativity, Ucross Foundation, Vermont Studio Center, Hambidge Center for the Arts, Jentel Foundation, and Tides Institute/StudioWorks. In 2021, Mitchell was a Fellow at The American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Tauba Auerbach (Diagonal Press), Mel Bochner, Matt Bollinger, Mark Bradford, Tara Donovan, Chie Fueki, Daniel Gordon, Sara Greenberger-Rafferty, Philip Guston, Josephine Halvorson, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Ellsworth Kelly, Arnold Kemp, Allan McCollum, Kay Rosen, Erin Shirreff, Lorna Simpson, Jered Sprecher, Jessica Stockholder, Jason Stopa, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others. "I am influenced by many things—1980's guitars, VHS tapes, World War I battleships, sunrise/sunset gradients, moiré patterns, and more. Over the past 3 years, ‘notions of cycle' have played an increased role in the development of my paintings; and I'm curious how the avant-garde succeeds and fails within popular culture. Currently, I'm interested in how the landscape has been depicted throughout American culture. Whether it's Thomas Cole and Albert Bierstadt of the Hudson River School, Georgia O'Keeffe's monumental work at the Art Institute of Chicago, or an Instagram post of a sunset—each conveys a romanticized view of our world. The most recent paintings are an amalgamation of experiences that I've had within the American landscape; with each painting flowing freely between representation and abstraction." LINKS: www.mmitchellpainting.net www.instagram.com/methan18 Artist Shout Out: UARK Drawing --- https://www.uarkdrawing.com/ and @uarkdrawing UARK Painting --- https://www.uarkpainting.com/ and @uarkpaintning I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency Apply for Summer Open Call: Deadline May 15 Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram
“Wright” with a “W, spider webs, sewing needles, Dune, grief, and Black and Blue. Join the friends as they visit Going Dark: The Contemporary Figure at the Edge of Visibility. Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.
Liberty: A principle emphasizing freedom, autonomy, and the inherent rights of individuals. In this episode, artist Lorna Simpson and poet and scholar Dr. Elizabeth Alexander question the nature of individual rights, autonomy, and separate the idea of "liberty" from "freedom" via Simpson's evocative representations of race, gender, and identity and Alexander's celebrated poetic insights.
Danielle heads to Somerset House in London to speak with Aindrea Emelife, the Nigerian-British curator and art historian. Specialising in modern and contemporary art, with a focus on questions around colonial and decolonial histories in Africa, transnationalism and the politics of representation, her writing includes the book A Brief History of Protest Art, and in 2021, she was appointed to the Mayor of London's Commission for Diversity in the Public Realm. She is currently Curator of Modern and Contemporary at the Museum of West African Art (MOWAA), in Edo State, Nigeria. This summer she has curated an exhibition at Somerset House in London called Black Venus, which brings together the work of 18 Black women and non-binary artists to explore the othering, fetishisation and reclamation of narratives around Black femininity. The exhibition examines the complex narratives of Black womanhood through the influences of three perceived archetypes: the Hottentot Venus, the Sable Venus, and the Jezebel, and reframes stereotypical notions of black womanhood through the work of contemporary artists including Sonia Boyce, Carrie Mae Weems, Amber Pinkerton and Lorna Simpson. Aindrea talks about how she became interested in the history of art, and why she felt this was an important theme to address.
Embark on a captivating episode of "The Truth in This Art" as host Rob Lee engages in a profound conversation with artist Ciarra K. Walters. Through her work, Ciarra delves into the depths of the human body, capturing its essence through the lens of film and photography. Her artistic practice revolves around cultivating a heightened awareness of our physical selves and embracing the interplay between the body, emotions, surroundings, and instinctual movements.Drawing inspiration from sculptures crafted by individuals and shaped by nature, Ciarra's performances are spontaneous and intuitive, merging with her physical being to create captivating visual experiences. Whether amidst rocks, trees, grass, concrete, or metal, she finds intrigue in the dynamics between the body and its environment.Ciarra treats her body as an independent sculpture, adorning it with found objects and dressing it distinctively, blurring the boundaries between art and self-expression. Her performances establish a profound connection with the concepts of time, mortality, and the delicate nature of human existence. In her art, she exudes strength and asserts ownership over her physical form, carrying on the important conversations initiated by pioneering artists like Ana Mendieta, Lorna Simpson, and Senga Nengudi regarding the female body and its constraints on freedom of movement.Join us as we delve into Ciarra's artistic process, her influences, and her mission to create a space where movement is embraced and celebrated. Through this conversation, we explore the essence of the human body and the transformative power of art with the talented artist, Ciarra K. Walters.Creators & Guests Rob Lee - Host The Truth In This Art, hosted by Rob Lee, explores contemporary art and cultural preservation through candid conversations with artists, curators, and cultural leaders about their work, creative processes and the thinking that goes into their creativity. Rob also occasionally interviews creatives in other industries such as acting, music, and journalism. The Truth In This Art is a podcast for artists, art lovers and listeners interested in the creative process.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts.THE TRUTH IN THIS ART IS SUPPORTED IN PART BYThe Gutierrez Memorial FundThe Robert W. Deutsch Foundation ★ Support this podcast ★
From the late 1960s to mid- 1970s, David Hammons captivated the art world with his body prints, using his naked body as a printing plate in meditations on African-American existence, and later works including a snowball-selling performance in the East Village and sculptures made of hair collected from Harlem barbers — all the while sharply defying establishment categories and rules of commerce. An unconventional chronicle of Hammons's life and work (now 79, he believes “the less they know about me the better”), THE MELT GOES ON FOREVER captures his playful, no-bullshit spirit and conceptual integrity, using archival footage and rare interviews, dynamic animation and sound art, and candid accounts by eminent artists curators and critics (Betye Saar, Suzanne Jackson, Henry Taylor, Lorna Simpson, among others). Hammons's profound critiques of racial and social inequality illuminate and implicate simultaneously. THE MELT GOES ON FOREVER chronicles Hammons' category-defying practice – rooted in a deep critique of American society and the elite art world – is in the words of one art critic “an invitation to confront the fissures between races” as the artist seeks to go beyond the dominant culture and his own to a new one for the 21st century. Co-directors Judd Tully (American Greed: The Art of the Steal, Driven to Abstraction) and Harold Crooks (The Price We Pay, The Corporation) stop by to talk about David Hammons has constantly defied the establishment and remains to this day a subversive voice, evocative, defiant, nuanced and relevant. For more go to: the-melt-goes-on-forever-the-art-times-of-david-hammons Screening at Film Forum in NYC - May 5 - 11
Usually the things that are the farthest out — that look the least like art to me — are the things that become the most important. American painter Glenn Ligon is one of the most recognizable figures in the contemporary art scene. His distinctive, political work uses repetition and transformation to abstract the texts of 20th-century writers. In this episode, Ligon talks about childhood and what it means to have a parent who fiercely and playfully supports you. He also discusses the essential lesson that there's value in the things you do differently, and why he won't take an afternoon nap in his own studio. References: Courtney Bryan Pamela Z Samiya Bashir Thelma Golden Robert O'Meally Romare Beardon Toni Morrison Lorna Simpson Margaret Naumberg The Walden School Mike D - Beastie Boys Murders of Chaney, Goodman, and Schwerner Davóne Tines Chris Ofili Henry Threadgill Frédéric Bruly Bouabré “How It Feels to Be Colored Me” Saidiya Hartman Fred Moten Jason Moran
From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
THIS WEEK on the GWA Podcast, we interview one of the most acclaimed painters working in the world right now, AMY SHERALD! With their striking elegance and commanding yet inviting gazes, Amy Sherald's subjects exude grace, dignity, power, and joy. Unrooted in time, place, or space – and on the threshold between surreality and reality – they feel at once familiar yet utterly otherworldly as they glow in hues of gold, pinks, blues and oranges, often meeting our gaze with their dazzling aura. Sherald, through figurative painting, documents the contemporary African American experience in the United States. By engaging with the traditions of photography and portraiture, she opens up discussions about who has been immortalised, historicised, and who has been able to write, paint and dictate these narratives. As a result, her paintings open up vital debates about race and representation. But they're also just as much about capturing and creating a record of the joy and everydayness of life. With a process that includes working from photographs that she stages and takes of individuals that capture her interest, the artist has said: “The works reflect a desire to record life as I see it and as I feel it. My eyes search for people who are and who have the kind of light that provides the present and the future with hope”. And it is this that we see in her paintings. Born in Columbus, Georgia, Sherald received her MFA in painting from Maryland Institute College of Art and BA in painting from Clark-Atlanta University. Sherald was, in 2016, the first woman and first African-American artist to receive the prestigious Portrait Competition from the National Portrait Gallery in Washington D.C., and in 2018, was selected by First Lady Michelle Obama to paint her portrait. Depicted as both triumphant and approachable (with the pattern on her billowing dress referencing the Gee's Bend Quiltmakers), Obama's gaze is full of wisdom and optimism. Now in some of the most prestigious museum collections in the world, we meet Sherald today in London, at Hauser & Wirth, where she has just opened her first ever European solo exhibition, The World We Make. -- LINKS:::::: They Call Me Redbone but I'd Rather Be Strawberry Shortcake (2009) https://nmwa.org/art/collection/they-call-me-redbone-id-rather-be-strawberry-shortcake/ Miss Everything (Unsuppressed Deliverance) (2013) https://portraitcompetition.si.edu/exhibition/2016-outwin-boochever-portrait-competition/miss-everything-unsuppressed-deliverance After winning this award, Sherald was put forward as a contender for First Lady Michelle Obama's official portrait. Michelle Obama Official Portrait (2018) https://npg.si.edu/Michelle_Obama EXHIBITION: ‘The World We Make' at Hauser &Wirth (until 23 Dec) https://www.hauserwirth.com/hauser-wirth-exhibitions/38424-amy-sherald-the-world-we-make/ MORE – Simone Leigh, Amy Sherald and Lorna Simpson for NYT Mag: https://www.nytimes.com/interactive/2019/10/08/magazine/black-women-artists-conversation.html https://www.nytimes.com/2019/09/12/arts/design/amy-sherald-michelle-obama-hauser-wirth.html NYT interview on Michelle Obama portrait: https://www.nytimes.com/2017/10/23/arts/design/amy-sherald-michelle-obama-official-portrait.html New York Times Magazine, Amy Sherald and others on being Black cultural leaders and being seen: https://www.nytimes.com/2020/06/23/t-magazine/black-artists-white-gaze.html Peter Schjeldahl on the Amy Sherald Effect for the New Yorker 2019: https://www.newyorker.com/magazine/2019/09/23/the-amy-sherald-effect -- ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY CHRISTIES: www.christies.com
For the season premier episode of Artists On Writers | Writers on Artists, artist Lorna Simpson joins poet Simone White to talk about being in the practice of a practice, whether or not there is in fact a language to describe both Black experimental art and Black life, how to protect one's own interiority so that a person can live most fully, and much more. Simpson's work is currently on view as part of the exhibition “The Double: Identity and Difference in Art since 1900” at the National Gallery of Art in Washington, DC. White's most recent book, or, on being the other woman, was published this fall by Duke University Press. This episode of “Artists On Writers | Writers on Artists” is sponsored by the New-York Historical Society. A pioneer of conceptual photography, Lorna Simpson first came to attention in the mid-'80s for her large- scale photograph-and-text works that confront and challenge narrow, conventional views of gender, identity, culture, history and memory. Throughout her career, she has used the camera as a catalyst to comment on the documentary nature of found or staged images. Her works have been exhibited at, and are in the collections of, the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; the Walker Art Center, Minneapolis; Whitney Museum of American Art, New York; Los Angeles Museum of Contemporary Art, Los Angeles; and Haus der Kunst, Munich amongst others. Important international exhibitions have included the Hugo Boss Prize at the Guggenheim Museum, New York, Documenta XI in Kassel, Germany, and the 56th Venice Biennale, Venice, Italy. She was awarded the J. Paul Getty Medal in 2019. Simone White earned her BA from Wesleyan University, JD from Harvard Law School, and MFA from the New School. She is the author of the full-length collections House Envy of All the World (Heretical Texts, 2010), Of Being Dispersed (Futurepoem, 2016), and Dear Angel of Death (Ugly Duckling Presse, 2018), as well as the chapbooks Dolly (2008) and Unrest (2013). Her most recent, or, on being the other woman, was published this fall by Duke University Press. White has received fellowships from Cave Canem, a 2017 Whiting Award, and was selected as a New American Poet for the Poetry Society of America. She lives in New York and teaches at the University of Pennsylvania.
This week I had 4 fellow collage enthusiasts join me for a great roundtable about contemporary collage: Curator, Kathy Greenwood and Artists, Ginnie Gardiner, Todd Bartel and Michael Oatman. If you love collage, aka "the finding, minding & binding," (thanks, Todd!) then you'll love this episode. And my obsesh w/ glue became next level as we explored both its physical and metaphysical properties. This episode was recorded during a live Clubhouse event 2/8/22 and was held in conjunction with "Echo," an exhibition of collage at the Albany Airport. Exhibition info: "Echo" w/ Ginnie Gardiner & Amy Talluto, Curated by Kathy Greenwood at the Albany International Airport (pre-security, 3rd fl) Web: https://albanyairportartandcultureprogram.com/ and IG: @albanyairportartandculture More about my guests: Ginnie Gardiner: https://ginniegardiner.com/ Todd Bartel: https://toddbartel.com/ Michael Oatman: https://massmoca.org/event/michael-oatman-all-utopias-fell/ Kathy Greenwood: https://www.instagram.com/greenwoodkart/ Additional reading: Kolaj Magazine IG @kolajmagazine and Web http://kolajmagazine.com/ Maxomatic' "The Weird Show" Blog and Podcast: https://theweirdshow.info/ Todd's writings on collage: https://issuu.com/toddbartel Jiří Kolář glossary of collage terms: https://en.wikipedia.org/wiki/Ji%C5%99%C3%AD_Kol%C3%A1%C5%99 "The Americans: The collage" a book by Linda L. Cathcart: https://www.google.com/books/edition/The_Americans/FI00AQAAIAAJ?hl=en Paul de Jong's Mall of Found Residency (now Mount Lebanon Residency): https://mtlebanonresidency.org/History "Complex Muses" curated by Todd Bartel May 18-Sept 4 at Art Complex Museum in Duxbury, MA: https://artcomplex.org/exhibitions/ Collage Artists mentioned (w/ instagram tags where available): Mary Delaney, Picasso, Braque, Cubists, Max Ernst, Hannah Hoch, Dada, Eileen Agar, Paul Nash, Henri Matisse, Romare Bearden, Nancy Spero, Joseph Cornell, Maxomatic @maxomatic, The Weird Show @theweirdshowofficial, Andrea Burgay @andreaburgay, Ric Kasini Kadour @kasini & his “Decentralized Community” idea, Cathleen Daly & her "interlocking collage" idea, John Gall @llagj, Andrea Mortson @doingvsdreaming, Jack Felice @jackfelice, John Hundt @johnhundtblueyes, Red Wizard Collage @red_wizard_collage (tiktok @redwizardcollage & podcast "Cut It Out!"), Paula Wilson @paulalights, Carrie Moyer @carrie.moyer.studio, Ann Toebbe @anntoebbe, Twin Cities Collage Collective @twincitiescollagecollective, Tiko Kerr @tikokerr, Clive Knights @knightsclive, Janice McDonald @janicemcdonaldart, Kira E Wong @kiraewong_art, Kurt Schwitters' “Merzbau” (building for making psychological collages), Julie Heffernan @julie_heffernan_, James Rosenquist, Mark Tansey, Lorna Simpson @lornasimpson, Courtney Puckett @courtneygpuckett, Jiří Kolář and Elaine Lustig Cohen Glue Talk™: Todd Bartel uses: Yes! Paste, Lineco Document Repair Tape and anything at hand Michael Oatman uses: 3M™ Super 77™, 30x40 in adhesive paper sheets and rubber cement Ginnie Gardiner uses: Neschen gudy® 870 Mounting Adhesive I use: Yes! Paste, UHU Stick and Matte Medium Support the Peps by making a Donation, reviewing us on Apple Podcasts or following us on Instagram to see more images illustrating this episode: @peptalksforartists. All licensed music is from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support
Originally from Washington D.C., Alexandra Farber is a mixed media artist with a passion for telling narrative. Alexandra trained as a classical ballet dancer from a young age, a pursuit that took her to schools from DC to San Francisco, New York City, and Houston. She joined the Texas Ballet Theater in 2012 and has risen to a principal artist within the company where she continues to perform. All the while, her creativity never stopped outside of the dance studio; she continued to create using other mediums in the visual art world. Alexandra pursued a Bachelor of Science in psychology through the University of Maryland Global Campus, graduating with honors. Though she trained in classical drawing and painting while getting her degree, Alexandra's primary medium is collage. Inspired by artists like George Herms, Fred Tomaselli, Lorna Simpson, and Dana Newmann, Alexandra uses found objects, including organic materials from nature, to tell the narratives of life, from the mundane to the dramatic. Her choreography is the dance language collage of these ideas. Alexandra Farber afarber123@gmail.com @farbie @alexandrafarber.art www.alexandrafarber.com 301-655-6631 --- Support this podcast: https://podcasters.spotify.com/pod/show/grayson-mask/support
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran.Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran.Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
The Lonely Palette is collaborating with the Addison Gallery of American Art in celebration of the museum's 90th anniversary! In this episode, we're using the Addison's collection to explore the figure, which, in art history, is almost exclusively the object of the gaze. But what does it mean when the body – that is, the multi-dimensional person who inhabits it – steps behind the lens as well to take back control? Artists Explored: Lalla Essaydi, Laurie Simmons, Cindy Sherman, Lorna Simpson, Sally Mann, Dawoud Bey See the Images: https://bit.ly/34AE9Xw Music Used: The Blue Dot Sessions, “The Zeppelin,” “Dirty Wallpaper,” “Polycoat,” “Pastel de Nata,” “Turning to You,” “The Consulate” Further Listening: The Lonely Palette on Mary Cassatt: https://bit.ly/3uFM9Bj Support the Show: www.patreon.com/lonelypalette
Queer Formalism: The Return expands upon William J. Simmons’s original, influential essay “Notes on Queer Formalism” from 2013, offering novel ways of thinking about queer-feminist art outside of the critical-complicit and abstract-representational binaries that continue to haunt contemporary queer art. It therefore proposes a new kind of queer art writing, one that skirts the limits imposed by normative histories of art and film. Artists addressed in Queer Formalism: The Return include: Sally Mann, David Lynch, Lars von Trier, Math Bass, Lorna Simpson, Laurie Simmons, Alex Prager, Lana Del Rey, Jessica Lange, and Louise Lawler, among others. Simmons is in conversation with Emily Wells. _______________________________________________ Produced by Maddie Gobbo, Lance Morgan, & Michael Kowaleski Theme: "I Love All My Friends," an unreleased demo by Fragile Gang. Visit https://www.skylightbooks.com/event for future offerings from the Skylight Books Events team.
Episode No. 492 features curators Allison Glenn and Jeffrey Richmond-Moll. Glenn is the curator of "Promise, Witness, Remembrance," at the Speed Art Museum in Louisville. The exhibition reflects on the life of Breonna Taylor, an emergency medical technician who was killed by Louisville police, and the subsequent year of protests and remembrance. The exhibition is on view through June 6. Glenn is a curator at the Crystal Bridges Museum of American Art. Artists in "Promise, Witness, Remembrance" who have been guests on The MAN Podcast include Bethany Collins, Kerry James Marshall (twice), Lorna Simpson and Amy Sherald; artists whose work has been the subject of MAN Podcast episodes include: Terry Adkins (with Stephaine Weissberg) and Sherald (on the Vanity Fair cover with Nzinga Simmons). A clip from Jon-Sesrie Goff's 2016 A Site of Reckoning: Battlefield is here. On the second segment Jeffrey Richmond-Moll discusses "Extra Ordinary: Magic, Mystery and Imagination in American Art" at the Georgia Museum of Art. The exhibition surveys American artists who rejected abstraction to make representational, often hyper-real paintings that addressed the strangeness of changing, churning American life. The exhibition is on view through June 13. The excellent exhibition catalogue was published by GMOA. Amazon offers it for about $50.
Larry Ossei-Mensah is a Ghanaian-American independent curator and cultural critic who has documented contemporary art happenings for various publications including Uptown and Whitewall Magazine. His writings have profiled some of the most dynamic visual artists working today—Derrick Adams, Mickalene Thomas, Kehinde Wiley, Lorna Simpson and street artist JR. As a curator, Ossei-Mensah uses contemporary art and culture as a vehicle to redefine how we see ourselves and the world around us. He has organized exhibitions at commercial and nonprofit galleries throughout New York City featuring a roster of critically acclaimed emerging and mid-career artists including Firelei Baez, ruby amanze, Hugo McCloud, Brendan Fernandes, and Derek Fordjour to name a few. Ossei-Mensah is also the Co-Founder of ARTNOIR, a global collective of culturalists who design multimodal experiences aimed to engage this generation's dynamic and diverse creative class. ARTNOIR serves as a tangible extension of Ossei-Mensah's curatorial vision of “bridging gaps.” ARTNOIR's inaugural event was a conversation on art and gender justice featuring Wangechi Mutu, Julie Mehretu and Adrienne Edwards. He currently serves as Co-Chair on Russell Simmons' RUSH Artist Advisory Board, the Guggenheim's Young Collectors Council, MoMA's Friends of Education and as juror for the 2016 PULSE Prize. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support
Episode 2 explores a favorite arts integration tool, visual thinking strategies or VTS! The Des Moines team took a virtual field trip to the Des Moines Art Center for the exhibition Black Stories co-curated by Jordan Weber and Mitchell Squire. The exhibition presents artwork created by Black and African artists from the museums permanent collection. The group explores the question, how can viewing and discussing artwork support anti-racist work in our schools and classrooms? SHOUT OUT! to Mia Buch, Museum Educator, and Jill Featherstone, Director of Education, for developing and facilitating this opportunity with our team and teachers! SHOUT OUT! To the following Madison Elementary students for providing their voices... 5th Grade: Raul, Sai Khaue, Danaya, Julie 4th Grade: Nadya, Blake, Jacob, Paw Lay Artworks discussed in this episode: Wigs, Lorna Simpson, 1994 Iago's Mirror, Fred Wilson, 2009 ...among the blades between the flowers... while the horse watches... for those who bear/bare witness, Ebony G. Patterson, 2018 Gladiators, Mitchell Squire, 2013 The Means to an End, ...A Shadow Drama in Five Acts, Kara Elizabeth Walker, 1995 Untitled, Jean-Michel Basquiat, 1984 Legacy of Dr. Martin Luther King, Samuel Adoquei
Lorna Simpson. LORNA! Photographer and Multi-media artist. Wigs. Creepers stalking people having sex in bathrooms. Film Noir. Blind Tom. Olive finally watches video art. Beautiful color palettes. Lindsey finds her soulmate. Glaciers and ice. Ebony magazine. How to tell your significant other you're done cuddling.
Thanks for tuning in as we discuss four female artists from the past and present. Today we are going to tell the stories of these four inspiring women: Harriet Cany Peale, Sarah Freeman Clarke, Mary Cassatt, and Lorna Simpson. Harriet Cany Peale is our most historic artist, being born in 1799, in Philadelphia. Married to Rembrandt Peale as his second wife, Harriet didn’t stop painting when she wed as most women were expected to do at the time. Her work was exhibited for most of her career and can still be found in galleries like the Chrysler Museum of Art, the Schwarz Gallery and many more.Sarah Freeman Clarke was a creative of many types. Born in Boston in 1840, she painted, illustrated, wrote poetry, sketched, and frequently traveled. There is a Facebook group, Old Marietta, that highlights vintage photos of Marietta, Georgia, where Sarah settled down for a time. The page has spotlighted Sarah numerous times. She knew how to network and had friends in high places like Margaret Fuller and Ralph Waldo Emerson. Sarah’s connection to Emerson influenced her work and style. She traveled to the Great Lakes with Margaret Fuller, sketching and painting landscapes along the route. This became part of Fuller’s Summer on the Lakes collection of poetry, art, dialogues, anecdotes and more. Sarah had accumulated thousands of books throughout her years of travel and opened a catalogue of her books to lend out. Eventually her catalogue merged with the Marietta Library Association and today it is part of the 16 branch Cobb Library System as the Clarke Library. Editor's note: When Kate mentions a president who died after eating too many cucumbers and being cut open, she said William McKinley, but we later learned it was Zachary Taylor. Mary Stevenson Cassatt was born in Boston in 1840, as the daughter of two real estate and investment brokers. The high status she was born into led to many early opportunities to travel and explore artistry. Although women were discouraged from pursuing careers, she enrolled in the Philadelphia Academy of Fine Arts at 16 years old. She ended up quitting the program to move to Paris after realizing the courses were slow and inadequate. Her portrait titled The Mandoline Player was selected for display by Paris Milan, an exclusive annual exhibition organized by the Royal Academy of Painting and Sculpture. Finally, we discuss modern artist Lorna Simpson who continues to produce art. Lorna’s style and choice of mediums has evolved over the course of her career. She has drawn, painted, photographed and sculpted hundreds of works of art in her lifetime already. As a pioneering feminist, her work raises questions about the nature of representation, identity, gender, race and history. Listen in for her full story! For the first time since we started the podcast, we're plugging ourselves! Kate's mom, Cynthia Mollenkopf, is an artist with work displayed at the Cocoon Gallery in Apex, NC. Kate is a pastry master and you can find her on Instagram @cococake15. Natasha paints and such and her Instagram is @artbynatashahope Thanks for supporting us and this podcast! Enjoy and see you next time!
#DiePodcastin im Bild: Isabel Rohner& Regula Stämpfli über Fotografinnen wie Abbot, Atkins, Käsebier, Taro, Cameron, Baker, Freund, Wearing, Simpson, Bourke-White, Cunnigham uva Willkommen im Pantheon der Unkonventionalität. Die Welt der Fotografie wäre nichts ohne die Frauen. Als das Medium 1839 erfunden wurde, hatte es noch nichts vom akademischen und pornografischen Glamour, der die Kamera zum Männerobjekt gemacht hat.
Jasmine Clarke is a 25-year-old photographer born (and based) in Brooklyn, New York. She graduated from Bard College in 2018 with a BA in Photography. Inspired by the surreal qualities of our waking world, her images play with the tension between fiction and reality. Her images have been shown at Howard Greenberg Gallery in Manhattan and are currently on view at Photoville in Brooklyn Bridge Park, the Photo Vogue Festival in Milan, and the National Center for Civil and Human Rights in Atlanta. When I look in the mirror, I want to believe that what I am seeing is an extension of myself even though I know that it isn’t. I’m seeing a reflection (an illusion) of me and my world. I can never quite trust a mirror. A picture creates a similar false sense of reality. The nature of photography tells us that what we are seeing is true, but it’s not. It is a selective truth, or even a fiction.One night in Jamaica, as my father and I drove through the mountains, he described a recurring dream: he is in his hometown, Saint Mary's, at a certain winding road that’s shaped like an N, trying to catch the bus. He misses it and has to run up the mountain through the bush and slide down the other side to catch it. This is his only dream set in Jamaica. He told me as we approached the N. I listened while chewing on my sugar cane. It’s strange hearing about a dreamscape while physically going through it—like déjà vu. I feel this sense of familiarity driving through my father’s dream. But what’s more overwhelming is the sensation of jamais vu: foreignness in what should be known. The moon you see, the air you breathe, and the flowers you smell are all suddenly unfamiliar. You’ve moved, traveled—maybe even transcended—although you don’t know to where. You look in the mirror and see yourself, but can’t be sure that it’s the same reflection you saw yesterday.This is why I photograph: to capture a trace of the unexplainable. My pictures are where dreams meet the physical world and earthly things take on higher meaning. I search for the uncanny. I uncover what is hidden. An obscured face, a wet flower, a dark shadow.http://jasmine-clarke.com/https://www.instagram.com/jasmineclarke0/?hl=enhttps://www.bard.edu/news/guardian-spotlights-work-by-grad-jasmine-clarke-18-in-photo-vogue-2020-11-10https://www.vogue.it/fotografia/article/photo-vogue-festival-2020-all-in-this-together-30-photographers-exhibitionhttps://photoville.nyc/the-lit-list-2020-photographers-to-watch-exhibit-hire/https://www.blueskygallery.org/upcoming-exhibitionshttps://www.photographersofcolor.org/https://twitter.com/photogsofcolorhttps://www.instagram.com/photogsofcolor/?hl=enhttps://fulbright.uark.edu/departments/art/https://www.instagram.com/uarkart/?hl=en
***I DO NOT OWN THE RIGHTS TO ANY MUSIC PLAYED IN THIS EPISODE*** Cheryl McCain was born in Ocala, Florida. She is a retired Navy veteran who served honorably for twenty years. Two years after retirement, she enrolled at the Art Institute of Jacksonville to study photography. After two years at Al, she left her studies to care for her ailing husband. Just before leaving school her work was published in the Miami based magazine, Chellae and Jacksonville publication Void magazine. She has shot and directed two music videos one of which has been nominated video of the year (by DuvalHipHop.com), photographed four album covers for local artists and has been a featured artist at The Groove Suite Artist Edition two years in a row. In 2018 she was one of thirteen photographers selected to contribute to the exhibit "Jacksonville: A Tale of My City" at the Jacksonville Public Library's Jax Makerspace curated by Shawana Brooks and part of the "Let's Go" exhibit at the Jacksonville International Airport's Haskell Gallery. She also was selected and competed in the 2019 Artfields Artist Competition located in Lake City, South Carolina . She was recently selected to participate 2019 Through Our Eyes exhibit at the Ritz Theater and Museum.Photographers like Willim Eggleston, Carrie Mae Weems, Lorna Simpson, Henri Cartier Bresson and James Van Der Zee have had great influence on her process and approach when it comes to capturing any subject. In studying these photography giants, she has developed an eye for drawing the viewer in and telling story with her photography. Her objective is to have the viewer to see the world as she sees it when she looks through her viewfinder. She believes that should be every photographers objective first and foremost. Links: https://obscuraluxfineart.shootproof.com/Facebook: https://www.facebook.com/ObscuraluxfineartInstagram: obscuraluxfineartTwitter: @obscuraluxxx--- 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/iamlovereigns/messageSupport this podcast: https://anchor.fm/iamlovereigns/support
Another week and another Weekly Dose. Rob lets his hair down and Chris moves closer towards the camera . . . . . . This week on the Dose. . . . Rob and Chris chat about Volvo's lawsuit, graduate photo work, self publishing and Lorna Simpson. ► LINKS Photographer loses an eye https://petapixel.com/2020/06/16/photographer-sues-police-for-blinding-her-left-eye-uses-last-photo-as-proof/ Graduate Photography Online - Source https://www.source.ie/graduate/2020/univsuffba/univsuffba_student_15_16_31_05-05-20/univsuffba_student_15_16_31_05-05-20.php Photographer vs. Volvo https://petapixel.com/2020/06/15/photographer-and-model-sue-volvo-for-willful-and-wanton-copyright-infringement/ The Image of Whiteness https://shop.selfpublishbehappy.com/collections/all-books/products/the-image-of-whiteness-contemporary-photography-and-racialization-by-daniel-c-blight Defective Sony SD cards https://www.sony.com/electronics/support/articles/00246463 Lorna Simpson - Photo collage artist https://lsimpsonstudio.com/photographic-works/1985-88 https://www.theguardian.com/artanddesign/2020/may/07/lorna-simpson-there-are-days-when-i-cry-four-times-for-an-hour ►LET'S CONNECT Facebook: https://www.facebook.com/belfastphoto... Instagram: https://www.instagram.com/belfast_pho... Chris' Website http://www.christopherbarrphotography... Rob's Website https://durstonphoto.com
Russell and Robert meet Edward Enninful OBE, editor-in-chief of British Vogue. Over the past two and a half years as editor-in-chief of the famed publication, he has helped shape a new vision for fashion media — not just in the UK, but globally — where he has placed a “diversity of perspective” at its core.Enninful has described his vision for British Vogue as “about being inclusive. It’s not just the colour of your skin but the diversity of perspective.” He has made art a priority including interviews and features with artists as varied as Lubaina Himid, Steve McQueen (who is Vogue's Contributing Editor), Luchita Hurtado, Celia Hempton, Anthea Hamilton, Lorna Simpson, Mark Bradford, Nathaniel Mary Quinn, Frank Bowling, Lynette Yiadom-Boakye, Howardena Pindell, Bridget Riley, Toyin Ojih Odutola, Rosalind Nashashibi, Maggi Hambling, Huguette Caland, Tracey Emin, Grayson Perry and Rachel Whiteread. He has also profiled curators and museum directors such as Zoé Whitley (Chisenhale), Maria Balshaw (Tate) as well as writer Zadie Smith and photographers including Nadine Ijewere, Tyler Mitchell and Campbell Addy. In 2019, Enninful presented the Turner Prize, in an historic year where all four nominees won the prize.Ghanaian-born Enninful began his career as fashion director of British youth culture magazine i-D at age 18, the youngest ever to have been named an editor at a major international fashion title. After moving to London with his parents and six siblings at a young age, Enninful was scouted as a model on the train at 16 and briefly modelled for Arena and i-D magazines including being shot by artist Wolfgang Tillmans.Inspired by London’s club scene in the 1980s, Enninful’s work during this period captured the frenetic energy and creative zeitgeist of the time. It was also during this time that he befriended many of his future fashion collaborators, including Steven Meisel, David Smins, Pat McGrath, Craig McDean, Mario Sorrenti, Kate Moss and Naomi Campbell. For British Vogue, Enninful ’s covers have consistently featured strong women who promote messages of empowerment: Stella Tennant, Oprah Winfrey, Adwoa Aboah, Naomi Campbell, Rihanna, not to mention his September 2019 edition guest-edited by Meghan Markle HRH Duchess of Sussex, which featured 15 trailblazing female changemakers including Greta Thunberg and Jane Fonda on the cover.Enninful was awarded an OBE for his services to diversity in the fashion industry, and in 2018 he received the Media Award in Honour of Eugenia Sheppard from the CFDA in recognition of his career-long contribution to the fashion industry.Follow @Edward_Enninful and @BritishVogue. For images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArtPodcast. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. We love to hear your feedback!!!! Thank you for listening to Talk Art, we will be back very soon. See acast.com/privacy for privacy and opt-out information.
On the first episode of the Netflix glassblowing series Blown Away, Deborah Czeresko introduced herself as having “a polarizing personality; I have lovers, and I have haters.” Winner of the competition, the New York based, 58-year-old, queer female artist with 30 years of glass experience was awarded $60,000 and a two-week residency at the Corning Museum of Glass (CMoG). Wrote Casey Lesser on Artsy: “In a similar vein to Project Runway or Top Chef, Blown Away gathers glass artists to compete in creating innovative artworks. And while some contestants in the show’s first season crumbled under challenges that required conceptual depth, Czeresko thrived. Asked to make botanicals, she procured a set of oddly poetic potatoes; summoned to imagine a futuristic robotic device, she fashioned the Man-Bun in the Oven, an external womb for men to wear to gestate; and during a food challenge, she managed to make tacos appear über-elegant through a set of Venetian-style dishes. Her pièce de résistance was an installation for the finale: a feminist take on breakfast, including a fecund fried egg and a chain of sausage links.” Meat Me in The Middle, an installation with a sunny-side-up egg at the center represents women taking the art world by storm and a nod towards equity in fine arts. Czeresko’s work originates from personal experience influenced by the complexities of modern day political and social ideas. It challenges gender stereotypes within the traditional glassblowing landscape. “To me, it’s almost a political act to occupy the hot shop as a fierce female glassblower,” she says in Blown Away. In her October 2019 two-week residency at CMoG, Czeresko began work on a new conceptual chandelier comprised of more than 50 mirrored glass pieces of automotive-related ephemera such as hubcaps and a muffler. The work uses the metaphorical power of car parts to create a narrative surrounding the gendering of objects. Czeresko’s art has always invoked a range of approaches and techniques, including performance and collaboration. After completing a BA in psychology from Rutgers University and attending graduate school in studio art at Tulane University, she began working with glass at the New York Experimental Glass Workshop in 1987. For 20 years, Czeresko has made a living creating custom lighting designs and fabricating works for fellow artists such as Robert Gober, Kiki Smith, Lorna Simpson, Mariko Mori and Eric Fischl. The artist has instructed classes at many universities and schools throughout Europe and the US, including UrbanGlass in Brooklyn, New York, where she formally sat on the board; Tyler School of Arts in Philadelphia; College of Creative Studies in Detroit; and LUCA School of Arts in Ghent, Belgium. Following her appearance on Blown Away, Czeresko developed a vocal and enthusiastic fan base, inspired by this strong, creative woman articulating a message of diversity, equity and belonging. A most unlikely reality TV star, she is stopped regularly on the streets outside of her Lower East Side apartment for autographs, embraces and accolades. Admittedly thrilled with the attention, the artist has used her new-found celebrity to gain gallery representation. Blown Away inspired interest from New York’s Heller Gallery, which exhibited a new, large installation of her potatoes at SOFA Chicago last fall and her Meat in Chains at the NYC gallery earlier last year. In 2020, both CMoG and the Toledo Museum of Art purchased Czeresko’s work for their collections. In addition to exhibiting new works in three upcoming museum shows and multiple pending residencies, Czeresko will be the honoree for the UrbanGlass 2020 Gala held May 12.
We shadow CYJO, a Miami-based Korean American visual artist, as she navigates the complex maze of Art Basel Miami Beach in 2018. Her goal is to discover and document exceptional work in the photographic medium for the “Art Basel Miami Week Diary” that she contributes to the bilingual online publication L’Œil de la Photographie (The Eye of Photography). Inside the fair, Gian Paolo Paci, of Paci Contemporary, in Bresi, Italy, introduces us to his gallery’s featured artist: American photographer Nancy Burson. Burson created some of the earliest photographic portraits using computer-morphing technology. Jared Quintan, Associate Director of Rhona Hoffman, in Chicago, deconstructs the symbolism in a photographic wall installation by Lorna Simpson, an African-American photographer and multimedia artist known for her singular approach to portraiture. Quintan also talks about intimate portraits by African American artist Deana Lawson, whose photographs reveal the body’s ability to channel personal and social histories. A few weeks later, we meet CYJO in her studio, a light-filled loft that looks out over Biscayne Bay in Miami. We’re here to learn more about how the artist explores the complexities of identity, beauty and belonging through her own photography, video and text. Sound Editor: Anamnesis Audio Related Episodes: Modern Portrait of Black Florida, Jillian Mayer on the Nude Selfie Project, Adam Schreiber on the Spatial Dynamics of Photography Related Links: CYJO, Art Basel Miami Beach, L’Œil de la Photographie, Paci Contemporary, Rhona Hoffman Gallery
Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level. Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York. She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.
Explore the austere portrait through a series of black and white photographs in contemporary artist Lorna Simpson's "Bits and Pieces" Explore with me a juxtaposition of image and text that reveals the black experience. "Bits and Pieces" is part of the collection at the Wadsworth Atheneum, please visit their site at thewadsworth.org and listen to a commentary by Contemporary Art curator Andrea Miller-Keller at tap.thewadsworth.org.
Explore the austere portrait through a series of black and white photographs in contemporary artist Lorna Simpson's "Bits and Pieces" Explore with me a juxtaposition of image and text that reveals the black experience. "Bits and Pieces" is part of the collection at the Wadsworth Atheneum, please visit their site at thewadsworth.org and listen to a commentary by Contemporary Art curator Andrea Miller-Keller at tap.thewadsworth.org.
Endia Beal is a North Carolina based artist, who is internationally known for her photographic narratives and video testimonies that examine the personal, yet contemporary stories of marginalized communities and individuals. Beal currently serves as the Director of Diggs Gallery at Winston-Salem State University and Associate Professor of Art. As a graduate of the University of North Carolina at Chapel Hill in 2008, Beal earned a dual bachelor’s degree in Art History and Studio Art. During her undergraduate studies, she attended the Studio Art Center International in Florence, Italy focusing on High Renaissance Art History and the romance languages of the Italian culture. Following graduation, Beal was one of four women nationally selected to participate in ArtTable, a program designed to promote women in the visual arts. Representing the Washington, D.C. district, she assisted in the curation of the Andy Warhol Exhibit at the Luther W. Brady Art Gallery of George Washington University. Beal used this experience as a platform to advocate for minority opportunities within the arts. She was instrumental in creating marketing campaigns that redefined the way minority communities interact with art. Her work experience includes the Southeastern Center for Contemporary Art, the Connecticut Center for Arts and Technology, and The New York Times Magazine. In 2013, Beal graduated from Yale School of Art, with a Master of Fine Arts in Photography. While attending Yale, she created a body of work that explores the relationship of minority women within the corporate space. Her work was fully developed during the artist-in-residence program at the Center for Photography at Woodstock. Beal aligns herself with artists such as Carrie Mae Weems and Lorna Simpson, who use stories as the vehicle to question conformity and gender norms. Resources: Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort. You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .
EPISODE 2: Naomi Wadler, Female Artists & Fistula This week we discuss our love for Naomi Wadler and her inspiring and powerful speech at the March for Our Lives in the U.S on 24 March, 2018. Her exploration and unapologetic honesty about her support for all the Black Girls and Women who’ve been victims of gun violence brings us hope for the future of Feminism. VERVE wholly support and celebrate the equality of Black Women, and actively play a role in the fight for it. We also explore 5 female artists (Lorna Simpson, Valie Export, Ana Mendieta, Ewa Partum and J.C. Cowans) who we admire for their beautiful and detailed illustration of Womanhood through Art. And finally, our C.F.O (Chief Feminist Operative) Anna Quick- Palmer writes and reads about what Fistula is and how the rarely spoken about birth condition plagues women and girls in the developing world. Episode Notes: Article ‘She’s Got Verve: Why we love Naomi Wadler’, written by Chief Feminist Operative Anna Quick- Palmer: https://www.verveup.com/shesaid/shesgotverve-why-we-love-naomi-wadler Naomi Wadler’s powerful speech at March for our Lives: https://www.youtube.com/watch?v=C5ZUDImTIQ8 Information on Marley Davis: https://www.bbc.co.uk/newsround/42027105 Marley Davis’ amazing #1000BlackGirlBooks startup: http://grassrootscommunityfoundation.org/1000-black-girl-books-resource-guide/ Interview between Naomi Wadler and Marley Davis: https://www.elle.com/culture/a19721055/naomi-wadler-is-the-11-year-old-activist-you-need-to-know/ Article ‘5 Female Feminist Artists You Need to Know’ by VERVE Blogger Rebecca Hancock: https://www.verveup.com/shesaid/5-female-feminist-artists-you-need-to-know Artist 1: Lorna Simpson: http://www.lsimpsonstudio.com Artist 2: Valie Export: http://www.valieexport.at Artist 3: Ana Mendieta: https://en.wikipedia.org/wiki/Ana_Mendieta Artist 4: Ewa Partum: https://www.tate.org.uk/art/artists/ewa-partum-11244 Artist 5: J. C. Cowans: https://www.instagram.com/farfromjaded/ Article ‘What Is Fistula?’ by C.F.O Anna Quick- Palmer If you want to donate or help in any way, go to this website: https://www.fistulafoundation.org VERVE social links: Website: https://www.verveup.com IG: https://www.instagram.com/verve_up/ Twitter: https://twitter.com/verve_up FB: https://www.facebook.com/verveup/
Lorna Simpson is a stylist and art director currently living and working in San Francisco. website: https://lornaaisimpson.com/ instagram: https://www.instagram.com/lopimpson/ musical notes: Spoon - "Inside Out" [intro] Wilco - "I am trying to break your heart" @ [5:35] Wild Nothing - "Shadow" @ [15:34] Oddnesse - "Somewhere Somehow" @ [19:43] M. Ward - "Epistemology" @ [32:18] Flo Morrissey & Matthew E. White - "Look At What The Light Did Now" [outro]
This week, we're talking about film gear and answering some listener questions about our favorite film cameras. Also, a discussion around the challenges of becoming derivative of your own work, especially when you've done it for decades. We use Billy Joel and Mark Seliger as examples. Plus, despite low earnings, camera makers are still developing some pretty incredible tech. Lorna Simpson is our Photographer of the Week.
This week, we’re talking about film gear and answering some listener questions about our favorite film cameras. Also, a discussion around the challenges of becoming derivative of your own work, especially when you’ve done it for decades. We use Billy Joel and Mark Seliger as examples. Plus, despite low earnings, camera makers are still developing some pretty incredible tech. Lorna Simpson is our Photographer of the Week.
With Kirsty Lang. Anne Hathaway is back in cinemas this week in Rio 2, an animated film about a rare blue macaw, set in Brazil. She reprises her role as the voice of Jewel, a free-spirited bird, who discovers that the family she thought had been killed are still alive and living in the Amazon jungle. Anne Hathaway discusses the challenges of playing an animated character and what she looks for when choosing a role. Believe is a new American fantasy and adventure TV drama series from Oscar-winning director Alfonso Cuarón (Gravity) and Star Wars writer J.J. Abrams. A young girl with mysterious powers is placed under the protection of an escaped Death Row inmate, who must shield her from the mysterious forces out to hunt her down. Larushka Ivan-Zadeh gives her verdict. The African-American photographer Lorna Simpson discusses the work on show in her new retrospective at the Baltic Centre for Contemporary Art in Gateshead. Large-scale photographs printed on felt are on display alongside her video works, watercolours and drawings, which often deal with themes of identity, desire and race. To mark Radio 4's forthcoming Character Invasion - when fictional characters will be taking over the network - Front Row asked five of Britain's leading actors to talk about their experience of playing an iconic character. Tonight, David Threlfall describes his experience of playing Frank Gallagher for a decade in the Channel 4 drama series Shameless. Producer Jerome Weatherald.
Born in Nigeria, Okwui Enwezor is a curator, writer, critic, and editor of international acclaim. He has held positions as Visiting Professor in Art History at University of Pittsburgh; Columbia University, New York; University of Illinois, Urbana-Champaign; and University of Umea, Sweden. Enwezor was Artistic Director of Documenta 11, Kassel, Germany (1998–2002) and the 2nd Johannesburg Biennale (1996–1997). He has curated numerous exhibitions in some of the most distinguished museums around the world, including The Short Century: Independence and Liberation Movements in Africa, 1945–1994, Museum Villa Stuck, Munich, Gropius Bau, Berlin, Museum of Contemporary Art Chicago, and P.S.1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In/Sight: African Photographers, 1940–Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbach Haus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdam; co-curator of Echigo-Tsumari Sculpture Biennale in Japan; co-curator of Cinco Continente: Biennale of Painting, Mexico City; Stan Douglas: Le Detroit, Art Institute of Chicago. October 15, 2009
New York based African-American artist Lorna Simpson came to prominence in the 1980s with challenging work that dealt with issues surrounding race, gender and sex. Lorna Simpson is interviewed by writer Alison Green.
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