Podcasts about njideka akunyili crosby

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

Welcome to Wandering. A four part series of immersive podcast gallery walks, brought to you by Shade Podcast and Axel Kacoutié.Today we meet the artist Harold Offeh at the Dulwich Picture Gallery in London as he prepares to present work in their forthcoming exhibition, Soulscapes.Opening on Feb 14th 2024, Soulscapes is a major exhibition of landscape art. Featuring more than 30 contemporary works, it will span painting, photography, film, tapestry and collage from leading artists including Harold Offeh, Hurvin Anderson, Phoebe Boswell, Njideka Akunyili Crosby, Kimathi Donkor, Isaac Julien, Marcia Michael, Mónica de Miranda and Alberta Whittle, as well as some of the most important emerging voices working today.Soulscapes will explore our connection with the world around us through the eyes of artists from the African Diaspora. Discover more episodes in this series as we meet Zakia Sewell, Nabihah Iqbal and Kayo Chingyoni, as they enjoy artworks in the National Portrait Gallery, Sir John Soane's Museum and Graves Gallery. Sponsored by Bloomberg Connects, the arts and culture app. The free app offers access to more than 250 cultural organizations through a single download, with new guides being added every week. To explore the Dulwich Picture Gallery guide, and many more, download the app today from the App Store or Google Play. Become a member at https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

A special live episode hosted by Helen Molesworth, recorded in July at David Zwirner Los Angeles during Njideka Akunyili Crosby: Coming Back to See Through, Again. Her first solo exhibition with the gallery, the presentation is now on view at David Zwirner New York through October 28th.

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

In recent years, dyed-in-the-wool New Yorker Kevin Kwan, author of Crazy Rich Asians, has made Los Angeles his home. The city is rich with art, fashion and intriguing social structures, all of which are key sources of inspiration for Kevin's novels. Los Angeles has become his living and breathing studio, and going out into the city is a huge part of his creative process. In the first of several ‘deep dives' into the LA life that sustains Kevin creatively, we attend the opening of a new show (featuring the work of artist Njideka Akunyili Crosby) at the Huntington Library, Art Museum and Gardens, out in Pasadena, where the old money families of LA live.

Njideka Akunyili Crosby is a Nigerian-born artist who moved to America as a teen and her work Predecessors looks at how her family has changed over generations. She uses painting and collage techniques to share her memories and connect different aspects of her identity as she has roots in both Nigeria and America. If you want to learn more, check out the full episode I recorded with Janet Taylor, an artist, art teacher, and writer for The Art of Education University. Njideka Akunyili Crosby (full episode) Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (I'll send a $50 Amazon gift card to the teacher who gets the most shoutouts on this form by Feb 27) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lucius Elliott and Kelsey Leonard go through some of the sales trends in the November auctions with LiveArt's George O'Dell. David Hockney, new market share levels for female artists, Abstract and Color Field painters, Christina Quarles, Lauren Quin, Njideka Akunyili Crosby, Louise Nevelson, Andy Warhol and Salmon Toor are the artists and markets covered in this conversation.

For this episode, I talked to Janet Taylor, art teacher and writer for the Art of Education. She actually taught be about Njideka Akunyili Crosby, the contemporary Nigerian/American painter. Njiedeka Akunyili Crosby was born in 1983 in Enugu, Nigeria. Her father was a surgeon and mother was a professor of pharmacology. Her mother won the green card lottery allowing Njideka to come to the U.S. to study when she was 16. She spent a year studying and prepping for the SATs then went back to Nigeria to perform a year of service. After completing the year of service, she came back to the U.S. She took her first painting classes at a community college in Philadelphia then went on to Swarthmore. She was initially pre-med before deciding to pursue art. After Swarthmore, she went to the Pennsylvania Academy of Fine Art, then went on to get her MFA from Yale. A lot of her work focuses on straddling different worlds and her connections to Nigeria and the U.S. She uses painting with some collage methods like integration of fabric but particularly transfers. These methods not only integrate patterns and textures but also enrich the work through the connections to pop culture and other icons embedded as details to be discovered within her work. In 2017, she got the MacArthur genius grant which pretty much says it all right there. Her CV could make even the most accomplished among us question their adequacy. For this episode we looked at Predecessors from 2013. As always you can see the piece linked here in the show notes, or visit www.WhoArtEdPodcast.com to see this week‘s work as well as previous pieces and free resources for art teachers. If you enjoy the show, please help spread the word. Like, Subscribe and leave a review on iTunes or wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Din ugentlige kulturelle anbefalings-buffet. Værter på Poptillægget Lucia Odoom og Eva Eistrup anbefaler og linker løs til alt, hvad de læser, ser og lytter til og samler desuden både gæster og lytternes bedste anbefalinger af tv, film, musik, podcast og tidstypisk internetstøj i en stor, fråderen bunke.  Eva Eistrup anbefaler:To bonus-podcasts til dem der er besatte af NXIVM-kulten: Uncover: Escaping NXIVM og NXIVM on trial Bogen ‘I Like to Watch’ af The New Yorker-journalisten Emily Nussbaum. Tv-serien 'Buffy the Vampire Slayer og Emily Nussbaums fremragede essay om serien.  Lucia Odoom anbefaler: Den svenske Netflixserie ‘Snabba Cash’ Sangerinden Erika de Casier og hendes klaptelefon-R’n’B Politikens kunstkritiker Mathias Kryger anbefaler: Arthur Jafa på kunstmuseet Louisiana Løber fra den 21. april til 31. oktober 2021. Toyin Ojih Odutola – Modvægtens teori På museet Kunsten i Aalborg: 21. april til 30. maj 2021 This is not Africa - Unlearn what you have learned Aaiún Nin, Athi-Patra Ruga, Barthélémy Toguo, Bernard Akoi-Jacson, Billie Zangewa, Bolatito Aderemi-Ibitola, Bronwyn Katz, Candice Breitz, Dan Halter, Euridice Getulio Kala, Grada Kilomba, Jeanette Ehlers & La Vaughn Belle, Kapwani Kiwanga, Kelvin Haizel, Meschac Gaba, Moffat Takadiwa, Nástio Mosquito, Njideka Akunyili Crosby, Molan Oswald Dennis, Robel Temesgen, Sammy Baloji, Sethembile Msezane, Tabitha Rezaire, Tracy Naa Koshie Thompson og Zanele Muholi. Løber fra 21. april til 24. oktober 2021   

O Museu de Arte Moderna de Paris preparou a exposição “O poder das minhas mãos” que reúne 16 artistas africanas, nomeadamente as angolanas Keyezua e Ana Silva e a moçambicana Reinata Sadimba. A angolana Suzana Sousa é co-curadora desta mostra e leva-nos a descobrir as obras, as artistas, os temas e os questionamentos deste trabalho. O Museu de Arte Moderna de Paris aguarda o levantamento das restrições sanitárias para abrir ao público uma exposição onde as mulheres têm o dom da palavra e da expressão. “O Poder das minhas mãos – Áfricas: artistas mulheres” é o nome da mostra que reúne 16 artistas africanas com carreiras consolidadas e outras mais jovens, nomeadamente as angolanas Keyezua e Ana Silva e a moçambicana Reinata Sadimba. A exposição faz parte do programa "Temporada África 2020" [que também levou a Paris o fotógrafo moçambicano Mário Macilau] e foi concebida pela curadora independente angolana Suzana Sousa e pela curadora do Museu de Arte Moderna de Paris, Odile Burluraux. "O foco principal é a experiência quotidiana dessas mulheres. A exposição chama-se 'The Power of My Hands' que é o título de uma obra da Keyezua. Escolhemos o título por ser um título forte mas também porque essa obra tem esta ideia de trabalho manual. É uma obra que usa cabelos falsos, tece os cabelos uns nos outros e comporta esta ideia de trabalho manual que a nós nos interessava e que, no fundo, resume um pouco os restantes trabalhos", explicou à RFI Suzana Sousa, na entrevista que pode ouvir neste programa CONVIDADO. As pinturas, cerâmicas, fotografias, vídeos e performances remetem para o corpo, a espiritualidade, a memória, a maternidade ou a família, temas universais contados pelas mãos de quem é largamente sub-representado nos museus do mundo inteiro.  "As artistas mulheres são altamente sub-representadas no mundo inteiro e, no caso da arte africana, mais ainda. Para nós tornou-se relevante que essa experiência e essa vivência fosse representada por mulheres. Há um conjunto de elementos que essas artistas apresentam que, efectivamente, diz respeito às mulheres africanas mas que nós acreditamos - eu em particular - acredito que faz eco com as mulheres do mundo inteiro", descreveu a curadora angolana. A exposição mostra obras de Stacey Gillian Abe, Njideka Akunyili Crosby, Gabrielle Goliath, Kudzanai -Violet Hwami, Keyezua, Lebohang Kganye, Kapwani Kiwanga, Senzeni Marasela, Grace Ndiritu, Wura-Natasha Ogunji, Reinata Sadimba, Lerato  Shadi, Ana Silva, Buhlebezwe Siwani, Billie Zangewa e Portia Zvavahera. Nesta entrevista, Suzana Sousa leva-nos a descobrir as obras, as artistas, os temas e os questionamentos desta mostra que é, para ela, o primeiro projecto curatorial que realiza em França. "Por exemplo, a Billie Zangewa, que é uma artista sul-africana, reporta-nos a vida doméstica, o lar, os momentos de simplicidade que todos nós temos - ler um livro, tomar um duche - e que chamam a atenção para como a vida acontece em cada um de nós. No caso deste grupo de mulheres, o facto de serem negras e serem africanas comporta ainda uma terceira dimensão do discurso neste momento do Black Lives Matters que eu acho que não podemos não olhar e que torna ainda mais relevante a exposição que é como a experiência humana é tão igual. Todos estes momentos que nós temos nesta exposição, vividos por estas artistas, são relacionáveis, independentemente das nossas crenças, da nossa cor da pele, de como nos pensemos como indivíduos. Todos nós passamos por momentos de perder a mãe, como uma das artistas apresenta em fotografia. Todos nós reconhecemos os momentos de introspeção e religiosidade que a obra da Portia Zvavahera comporta. Então, há aqui um reconhecer da experiência negra que, ao mesmo tempo, coloca essa experiência no mundo, num gesto de sublinhar a igualdade entre todos nós", descreveu Suzana Sousa. A exposição é percorrida pelos temas da intimidade, memória, família, espiritualidade, a fisicalidade. "A divisão por temas foi para facilitar a leitura da exposição, mas há uma série de diálogos que as obras estabelecem entre si e entre temáticas. Por exemplo, o tema da memória surge em várias artistas mas a forma como elas usam essa memória por vezes liga-se à questão espiritual, outras vezes liga-se à questão familiar (...) Pretendemos deixar um espaço aberto para que houvesse uma interpenetração nos temas e isso permite depois ligar as artistas entre si e ligar inclusive gerações porque há artistas de gerações muito distintas." A moçambicana Reinata Sadimba, nascida em 1945, trabalha apenas cerâmica e representa "essa invisibilidade das mulheres e das artistas mulheres em particular" porque "é uma artista que tem já muitos anos de trabalho mas que infelizmente não é visível". Além disso, ela tem alguns "elementos muito particulares na sua obra como a herança maconde e a forma como ela explora em todos os seus trabalhos essa herança através das tatuagens que essas figuras têm e que são muito semelhantes às que ela própria carrega". A angolana Ana Silva, nascida em 1969, apresenta a obra "O Fardo", no qual ela borda no plástico dos sacos que transportam roupas usadas que vêm do Ocidente para o continente africano. "A nós interessava-nos não só este gesto do bordado, de criar beleza a partir de algo usado e que seria descartado de outra maneira, mas também o que esses sacos significam. Os fardos têm um impacto económico no continente africano e interessava-nos olhar como estes trânsitos vêm cheios de significados e têm consequências concretas na vida das pessoas. A obra dela, de uma maneira muito subtil, permitia-nos olhar para estes trânsitos globais, para este lado mais de economia e de política global, ao mesmo tempo que ela está a explorar especificamente a sua própria memória." A angolana Keyezua, nascida em 1988, apresenta, então, a obra que inspirou o título da exposição, "The Power of My Hands". "Os cabelos falsos - que são muito populares em África e representam uma economia de biliões de dólares - vêm também eles com uma história que nos reporta ao período colonial, à construção de conceitos de beleza e como esses conceitos de beleza estão tão presentes até aos dias de hoje e quais são as consequências disso. Tem também o lado que eu falava inicialmente do trabalho manual, deste trabalho que é feito por pessoas e, no caso particular do continente, os penteados têm uma história própria e muito antiga que vem dos seus significados ao nível dos reinados africanos pré-coloniais que continuam até hoje e que têm sido recriados dentro desta tal economia global dos cabelos", acrescentou a curadora.  As expectativas da exposição são grandes porque "colocam estas artistas no panorama da arte internacional", algo que "para algumas delas não era tão acessível", e também dá a conhecer o seu trabalho através do catálogo criado para o evento. A mostra deveria, inicialmente, estar patente de 22 de Janeiro a 30 de Maio, mas o fecho dos museus em França devido à pandemia de Covid-19 obrigou também ao adiamento da abertura desta exposição ao grande público, ainda sem data prevista.   

John talks with Ghanaian-American curator and cultural critic, Larry Ossei-Mensah. Larry uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. He has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome featuring artists such as Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Modou Dieng, Glenn Kaino, Joiri Minaya and Stanley Whitney to name a few. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today such as Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley.A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR endeavors to celebrate the artistry and creativity by Black and Brown artists around the world via virtual and in-person experiences. Ossei-Mensah is a contributor to the first-ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye.Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit. He co-curated in 2019 with Dexter Wimberly the critically acclaimed exhibition at MOAD in San Francisco Coffee, Rhum, Sugar, Gold: A Postcolonial Paradox in Spring/Summer 2019. Ossei-Mensah currently serves as Curator-at-Large at BAM, where he curated the inaugural exhibition When A Pot Finds Its Purpose featuring the work of Glenn Kaino at the Rudin Family Gallery. He will be co-curating with Omsk Social Club 7th Athens Biennale in Athens, Greece in 2021. Ossei-Mensah has had recent profiles in such publications as the NY Times, Artsy, and Cultured Magazine, and was recently named to Artnet’s 2020 Innovator List.

This is a second mini episode recapping the takeaways from the artists covered thus far in season 2. In this episode, I share my takeaways from the episodes about Phil Hansen, Wassily Kandinsky, Pablo Picasso, Jean-Michel Basquiat, Charuvi Agrawal, and Njideka Akunyili Crosby. The second half of season 2 will start on Monday, January 18th. 

For this episode, I talked to Janet Taylor, art teacher and writer for the Art of Education. She actually taught be about Njideka Akunyili Crosby, the contemporary Nigerian/American painter. Njiedeka Akunyili Crosby was born in 1983 in Enugu, Nigeria. Her father was a surgeon and mother was a professor of pharmacology. Her mother won the green card lottery allowing Njideka to come to the U.S. to study when she was 16. She spent a year studying and prepping for the SATs then went back to Nigeria to perform a year of service. After completing the year of service, she came back to the U.S. She took her first painting classes at a community college in Philadelphia then went on to Swarthmore. She was initially pre-med before deciding to pursue art. After Swarthmore, she went to the Pennsylvania Academy of Fine Art, then went on to get her MFA from Yale.A lot of her work focuses on straddling different worlds and her connections to Nigeria and the U.S. She uses painting with some collage methods like integration of fabric but particularly transfers. These methods not only integrate patterns and textures but also enrich the work through the connections to pop culture and other icons embedded as details to be discovered within her work. In 2017, she got the MacArthur genius grant which pretty much says it all right there. Her CV could make even the most accomplished among us question their adequacy.For this episode we looked at Predecessors from 2013. As always you can see the piece linked here in the show notes, or visit www.WhoArtEdPodcast.com to see this week's work as well as previous pieces and free resources for art teachers. If you enjoy the show, please help spread the word. Like, Subscribe and leave a review on iTunes or wherever you get your podcasts.

A moving, complicated, and at times ecstatic conversation between two groundbreaking women. The artist Njideka Akunyili Crosby, who was raised in Nigeria and now lives in Los Angeles, and the Booker Prize-nominated writer and filmmaker Tsitsi Dangarembga, who was born in Zimbabwe and educated in England, examine their personal experiences with protest, government corruption, Trump’s America, the erosion of indigenous culture, and ongoing missions to center their African and immigrant stories in their art. Dangarembga’s new novel, This Mournable Body, was recently shortlisted for a 2020 Booker Prize. In July, Dangarembga was arrested in Zimbabwe, protesting government corruption. She’s currently out on bail, but her trial is still pending.

Njideka Akunyili Crosby. Painter. Collager. Nigerian Born. Mark Bradford wants to be her best friend. Yale graduate (good choice). Actual Genius (with award to prove it). Her mother was a courageous badass. And most importantly, the nicest and funniest person you'd ever be lucky enough to meet! 

AW CLASSROOM PODCAST: INTERVIEW WITH LARRY OSSEI MENSAH For this episode, we are diving into Larry Ossei-Mensah’s curatorial journey and perspective on supporting artists early in their careers. Larry shares his eye for art and his advice for young artists. Larry Ossei-Mensah uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. The Ghanaian-American curator and cultural critic has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome featuring artists such as Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Glenn Kaino, and Stanley Whitney to name a few. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today such as Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley. A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR endeavors to celebrate the artistry and creativity by Black and Brown artists around the world via virtual and in person experiences. Ossei-Mensah is a contributor to the first ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye. Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit. He recently co-curated in 2019 with Dexter Wimberly the critically acclaimed exhibition at MOAD in San Francisco Coffee, Rhum, Sugar, Gold: A Postcolonial Paradox in Spring/Summer 2019. Ossei-Mensah currently serves as guest curator at BAM's Rudin Family Gallery. He also will be co-curating with Omsk Social Club 7th Athens Biennale in Athens, Greece in Spring 2021. Ossei-Mensah has had recent profiles in such publications like the NY Times, Artsy, and Cultured Magazine, which recently named him one of seven curators to watch in 2019. Follow him on Instagram/Twitter at @youngglobal or www.larryosseimensah.com. Image: Miranda Barnes for New York Times Follow us: @artsywindow --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/artsywindow/support

We're in love. It started with a Water Lilies in 2007. Our love grew stronger with Tomboy in 2011. We were devoted by the time Girlhood came around in 2014. And now, well, we scarcely know what to do with ourselves.This month we've dedicated an entire episode of our podcast to Céline Sciamma's Portrait of a Lady on Fire, the film that has set the roof alight with all those fire emojis. Twitter is burning! Sciamma's fourth film as a director took Cannes by storm back in 2019, earning standing ovations and taking home the Queer Palme. Earlier this year it was nominated at the BAFTAs, having already stolen our hearts.Over the course of the show, you'll get expert insights on Céline Sciamma's career up to this point. We'll hear from the director herself all about the inspiration for the film, the title and that stunning choral number. Modern day portrait artist, Nina Mae Fowler, tells us about the reality of portraiture. And we find out from academic Jennie Batchelor just what it was like for women artists in the 18th century.The podcast is hosted by Steph Watts. It is produced by Ryan Hewitt and Jake Cunningham, edited by Mark Towers, and scripted by Jake Cunningham and Steph Watts. With thanks to all of our contributors, and a special thanks to Kelly Powell, Louisa Maycock and Irene Musumeci.WITH THANKS TO OUR SPECIAL GUESTS:Céline SciammaCéline Sciamma is a French filmmaker, a director and writer. To date she has directed four films: Water Lilies, Tomboy, Girlhood and Portrait of a Lady on Fire, and she wrote the screenplay for award-winning animation, My Life as a Courgette.Tricia TuttleTricia Tuttle is Director of Festivals for the BFI. Tuttle's appointment as Artistic Director BFI London Film Festival follows her role as interim Artistic Director in 2018 and five successful years as Deputy Head of Festivals at BFI, including BFI Flare and BFI London Film Festival. She is also a huge champion of Céline Sciamma.Nina Mae FowlerNina Mae Fowler is known for her sumptuously detailed, large-scale drawings and installations which interrogate themes of celebrity, beauty, power and sexuality. Also an established portrait artist her sitters have included the biographer Dame Hermione Lee, biologist Richard Dawkins and ballet dancer Carlos Acosta (for which she was shortlisted for the BP Portrait prize in 2008).Most recently, The National Portrait Gallery has unveiled a major new commission by the artist entitled ‘Luminary Drawings'. The series comprises nine portraits of leading British Film Directors which now form part of the museum's permanent collection, including Sam Mendes, Ken Loach, Amma Asante and Sally Potter. Fowler's work has won widespread acclaim. It is featured in numerous collections of international significance and in 2015 a monograph of her work entitled ‘Nina Mae Fowler: Measuring Elvis' was published by Cob Gallery, London. The book features a commentary from an array of cultural luminaries including the curator Sandy Nairne and the playwright Polly Stenham. Lucy DahlsenLucy Dahlsen is a curator based in London and former Associate Curator of 20th century and contemporary portraiture at the National Portrait Gallery. Recent exhibitions she has curated include solo presentations of the artists Elizabeth Peyton and Njideka Akunyili Crosby.Jennie BatchelorJennie Batchelor is Professor of Eighteenth-Century Studies at Kent University, publishing in the long eighteenth century with a focus primarily on women's writing, authorship and anonymity, periodicals and women's magazines, representations of gender, work, sexuality and the body, book history, material culture studies and the eighteenth-century charity movement.She is the author of two monographs and co-editor of four essay collections. Her most recent book (with Nush Powell), Women's Periodicals and Print Culture in Britain, 1690s-1820s (Edinburgh University Press, 2018), is the ... Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of the ArtTactic Podcast, Susie Goodman, executive director at Strauss & Co, a leading auction house in South Africa, joins us to discuss the African art market. First, Susie tells us about the evolution of the African art market over the past 10 years and what role South African has played as the most established art market. Then, she tells us to what extent renowned African contemporary artists, such as Julie Mehretu, Marlene Dumas and Njideka Akunyili Crosby, are collected by African collectors and she also identifies lesser known African artists worthy of consideration by global collectors. Susie also touches on the success of female artists in Africa as well as how the politics of the continent has influenced the kind of art being made by contemporary artists.

Yo! Welcome to Chris and Rifa's weekly ramble through the arts, culture, tech and diversity. This week we went to the pictures to watch Captain Marvel and we also did our first Tate Modern trip of the year, to check out Dorothea Tanning, Franz West and Pierre Bonnard, though he scarcely got a look in. We recorded the Tate segment in the members' café, so it's a lot noisier and harder to hear than usual. Chris also recommends Njideka Akunyili Crosby's beautiful large mural Remain, Thriving above the entrance to Brixton Tube. Chris is reading Evan Ratliff's excellent new crime non-fic The Mastermind, while Rifa is loving Jim Bob From Carter: In The Shadow Of My Former Self. Find us on Facebook at Refigurepod and on Insta @refigureuk.

“Pela família brasileira” decisões são tomadas, polêmicas são estabelecidas, leis são aprovadas, promessas eleitorais são feitas. Mas que famílias são essas? O relatório “Pelas Famílias Brasileiras”, da Contente com a 65|10 (da mamileira Thais Fabris), concluiu que não dá para falar em famílias brasileiras sem usar o plural, e as últimas estatísticas do Censo comprovam que as estruturas familiares estão cada vez mais diversas. O projeto traça uma linha do tempo da história das famílias brasileiras, apresenta entrevistas com especialistas, dados e um mapeamento do que ameaça cada tipo de família e como defendê-las para combater o medo dessa dissolução da “família brasileira”. Inspiradas por esse trabalho magnífico, nossa missão hoje é explorar essa diversidade. Na mesa, contamos com a presença do Pastor Henrique Vieira e as participações especiais da Lilia, da Maria Luiza e do Paulo, do Angelo e do David. Vem com a gente! O MAMILOS E O BRADESCO TE LEVAM PARA O CARNAVAL DE TODO O BRASIL Além de apoiar este lindo podcast, o Bradesco também apoia a cultura no país. E todo ano tem muito conteúdo lindo de Carnaval, do carnaval das ruas, das pessoas. Este ano, eles chamaram 4 cantoras de quatro cidades-carnavais – São Paulo, Rio, Salvador e Recife – pra mostrar o carnaval e como ele atravessa suas vidas. Elas também vão compor uma música juntas nesses dias de festa. E você vai poder ver esses carnavais na forma de mini-documentários. Os primeiros vídeos já estão no Youtube do Bradesco, e todo esse conteúdo também estará no Facebook e Instagram. FALE CONOSCO . Email: mamilos@b9.com.br . Facebook: aqui . Twitter: aqui CONTRIBUA COM O MAMILOS Quem apoia o Mamilos ajuda a manter o podcast no ar e ainda recebe toda semana um apanhado das notícias mais quentes do jeito que só o Mamilos sabe fazer. É só R$9,90 por mês! Corre ler, quem assina tá recomendando pra todo mundo. https://www.catarse.me/mamilos EQUIPE MAMILOS Edição – Caio Corraini Produção – Maíra Teixeira Apoio a pauta – Jaqueline Costa e grande elenco Transcrição dos programas – Lu Machado e Mamilândia CAPA A capa dessa semana é uma colagem digital de Zeca Bral (Colagem digital sobre arte de Fernand Leger, Njideka Akunyili Crosby e ilustrações Raw Pixel). FAROL ACESO Pastor Henrique: Filme “Marighella” e livro “O Deus dos Oprimidos”; Cris: Série “Família” do canal Maria Homem; Ju: Livro “A Robô Selvagem” e peça “Navegar”. Link pro post: https://www.b9.com.br/104106/mamilos-185-a-nova-tradicional-familia-brasileira/

White screen Review The Price of Everything Premiered at the 2018 Sundance Film Festival and was produced by Jennifer Blei Stockman and Debi Wisch for Hot & Sunny Productions and Carla Solomon for Anthos Media. Lisa Remington and Kayla Malahiazar acted as co-producers. The film is edited by Sabine Krayenbühl, with additional editing by Phillip Schopper and Brad Fuller. Lensing is by Bob Richman and music is by Jeff Beal. With unprecedented access to pivotal artists and the white-hot market surrounding them, THE PRICE OF EVERYTHING dives deep into the contemporary art world, holding a mirror up to our values and our times — where everything can be bought and sold. Exploring the labyrinth of the contemporary art world, The Price of Everything examines the role of art and artistic passion in today’s money-driven, consumer-based society. Featuring collectors, dealers, auctioneers and a rich range of artists, from current market darlings Jeff Koons, Gerhard Richter and Njideka Akunyili Crosby to one-time art star Larry Poons, the film exposes deep contradictions as it holds a mirror up to contemporary values and times, coaxing out the dynamics at play in pricing the priceless. http://www.thepriceofeverything.com/

Who do you think you are? What do you think you are? These questions of gender, religion, race, nationality, class, culture, and all our polarizing, contradictory natures permeate Kwame Anthony Appiah’s newest book. In The Lies That Bind, Appiah, the author of the Ethicist column for the New York Times, challenges our assumptions of identities—or rather mistaken identities. Njideka Akunyili Crosby, a MacArthur Award-winning Nigerian born visual artist who lives in Los Angeles, meshes painting, printmaking, photography, and collage to create large-scale mixed media works bursting with multinational perspectives. Speaking with the Hammer Museum’s Erin Christovale about 21st century identity politics and the appropriation of culture, Appiah and Crosby will share from their own work to consider how our collective identities shape—and can bring together—our divisive world. 

Pankaj Mishra and Helen Lewis join us to discuss why everyone is so full of rage right now; Nigerian-American artist Njideka Akunyili Crosby on depicting her naked husband in her work; and what to look out for in the FT's interview with South African comedian and Daily Show host Trevor Noah See acast.com/privacy for privacy and opt-out information.