Podcasts about Wangechi Mutu

Curator Sukanya Rajaratnam and biographer Jon Ott weld together African American culture and 20th century Western/European modernism, through Richard Hunt's 1956 sculpture, Hero's Head.Born on the South Side of Chicago, sculptor Richard Hunt (1935-2023) was immersed in the city's culture, politics, and architecture. At the major exhibition, Sculpture of the Twentieth Century, which travelled from the Museum of Modern Art (MoMA) in New York in 1953, he engaged with the works of artists Julio González, Pablo Picasso, and Constantin Brâncuși - encounters with Western/European modernism, that ‘catalysed' his use of metal, as the medium of his time and place.Hero's Head (1956), one of Richard's earliest mature works, was the first among many artistic responses dedicated to the legacy of Emmett Till. The previous year, Hunt joined over 100,000 mourners in attendance of the open-casket visitation of Till, a 14-year-old African American boy whose brutal lynching in Mississippi marked a seismic moment in national history. Modestly scaled to the dimensions of a human head, and delicately resting on a stainless-steel plinth, the welded steel sculpture preserves the image of Till's mutilated face. Composed of scrap metal parts, with dapples of burnished gold, it reflects the artist's use of found objects, and interest in ancient Greek and Roman mythology, which characterise his later works.With the first major European exhibition, and posthumous retrospective, of Richard's work at White Cube in London, curators Sukanya Rajaratnam and Jon Ott delve into the artist's prolific career. We critically discuss their diasporic engagement with cultural heritage; Richard collected over one thousand works of 'African art', referenced in sculptures like Dogonese (1985), and soon travelled to the continent for exhibitions like 10 Negro Artists from the US in Dakar, Senegal (1965). Jon details the reception of Richard's work, and engagement with the natural environment, connecting the ‘red soil' of Africa to agricultural plantations worked by Black slaves in southern America. We look at their work in a concurrent group exhibition at the Centre Pompidou, which retraces the presence and influence of Black artists in Paris, and considers the city as a ‘mobile site', highlighting the back-and-forth exchanges between artists, media, and movements like abstract expressionism. Shared forms are found in the works of French painters, Wangechi Mutu's Afrofuturist bronzes, and Richard's contemporaries practicing in France, Spain, Italy, and England.Plus, LeRonn P. Brooks, Curator at the Getty Research Institute, details Richard's ongoing legacies in public sculpture, and commemorations of those central to the Civil Rights Movement, including Martin Luther King Jr., Ida B. Wells-Barnett, Mary McLeod Bethune, Hobart Taylor Jr., and Jesse Owens.Richard Hunt: Metamorphosis is at White Cube Bermondsey in London until 29 June 2025.Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000 is at the Centre Pompidou in Paris until 30 June 2025.Listen to Sylvia Snowden at White Cube Paris, in the EMPIRE LINES episode on M Street (1978-1997).Hear more about Wangechi Mutu's This second dreamer (2017), with Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024).For more about Dogonese and ‘African masks' from Mali, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, part of ⁠PEACE FREQUENCIES 2023⁠.For more about ‘Negro Arts' exhibitions in Dakar, Senegal, read about Barbara Chase-Riboud: Infinite Folds at the Serpentine in London.For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now).

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 I want to return to the Seeda School newsletter originally published on December 4th, 2023 titled, “What is Your Creative Offer?”, subtitle: “A Questionnaire to Oneself”. In it I share why worldbuilding has been such an essential method for me. But “Why Worldbuilding?” is a question I've been getting again lately so I wanted to revisit the question inside this podcast in order to invite you to join me in building worlds as containers for actualizing our audacious desire. How? Stay tuned for the strategy, tip and affirmations to remember towards the end of the episode. Resources: Download the ⁠Creative Offer Questionnaire to Oneself⁠ Subscribe to ⁠Seeda School Substack⁠ for weekly podcast releases straight into your inbox Follow Ayana on Instagram: ⁠@ayzaco⁠ Follow Seeda School on Instagram: ⁠@seedaschool⁠ Revisit Newsletter — ”What is Your Creative Offer?: A Questionnaire to Oneself” Audre Lorde, “Uses of the Erotic: The Erotic As Power” (1978) Toni Morrison's Nobel Lecture from December 7, 1993 Cover Art: Wangechi Mutu, In Two Canoe, 2022. Bronze, 180 × 68 × 72 in (457.2 × 172.7 × 182.9 cm). Courtesy the artist and Gladstone Gallery. © Wangechi Mutu

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Using found materials and mesmerizing structures that unearth deep-rooted emotions, Wangechi Mutu's visual creations celebrate our collective history and explore how art communicates into the future. From ancient rock carvings in the Sahel to her own chimeric abstractions, she shares her journey of self-discovery and reminds us all that we already speak the most ancient language of all.

Using found materials and mesmerizing structures that unearth deep-rooted emotions, Wangechi Mutu's visual creations celebrate our collective history and explore how art communicates into the future. From ancient rock carvings in the Sahel to her own chimeric abstractions, she shares her journey of self-discovery and reminds us all that we already speak the most ancient language of all.

Using found materials and mesmerizing structures that unearth deep-rooted emotions, Wangechi Mutu's visual creations celebrate our collective history and explore how art communicates into the future. From ancient rock carvings in the Sahel to her own chimeric abstractions, she shares her journey of self-discovery and reminds us all that we already speak the most ancient language of all.

On today's episode, Curator Capucine Jenkins joins me to talk about NFT's, what they are and how you can get started with NFT's as an artist. I had such a great conversation with Capucine as she shared all the details about NFT's and what led to her getting involved in this space.  Capucine Jenkins is the Senior Manager of Digital Art and Curator of NFTs at Saatchi Art. She has a BA in Sociocultural Anthropology, as well as a BA in Art History from Auburn University. Prior to joining Saatchi Art, Capucine worked in numerous museums, most notably at the High Museum of Art in Atlanta. She later accepted roles in research and sales strategy for prominent galleries, such as David Zwirner and Lévy Gorvy in New York. Spanning a decade, Capucine's curatorial career has allowed her to organize historical and contemporary art exhibitions for major institutions, established galleries, and emerging NFT marketplaces. She remains passionate about nurturing young artists and innovating digital art spaces. Her favorite artists include Wangechi Mutu, Charline von Heyl, Toyin Ojih Odutola, and Thornton Dial, among others. LINKS:  https://www.saatchiart.com/     Twitter:@capj_eth     I Like Your Work Links: Notions of Beauty Exhibition Join The Works Membership waitlist! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram  

If you are new to NFT's and would like to hear about it from the Senior Manager & Curator of NFT's and Digital art from Saatchi Art, the World's Leading Online Gallery, then you are in the right place here! I thoroughly enjoyed this conversation where Capucine breaks NFT's down into digestible information and gives class advice for emerging artists in general and in the NFT and digital space. Here is a little bit about Capucine: Capucine Jenkins is the Senior Manager of Digital Art and Curator of NFTs at Saatchi Art. She has a BA in Sociocultural Anthropology, as well as a BA in Art History from Auburn University. Prior to joining Saatchi Art, Capucine has worked in numerous museums, most notably at the High Museum of Art in Atlanta. She later accepted research and sales strategy roles in prominent galleries, such as David Zwirner and Lévy Gorvy in New York. Spanning a decade, Capucine's curatorial career has allowed her to organize historical and contemporary art exhibitions for major institutions, established galleries, and emerging NFT marketplaces. She remains passionate about nurturing young artists and innovating digital art spaces. Her favorite artists include Wangechi Mutu, Charline von Heyl, Toyin Ojih Odutola, and Thornton Dial, among others. Saatchi Art Capucine Jenkins Profile https://www.saatchiart.com/capucinejenkins Visions of the Future https://www.saatchiart.com/nft https://www.saatchiart.com/nft/visions-of-the-future ARTIVA APP https://artiva.app/ For questions: Twitter @capj__eth It's been an honour to have Capucine on the show and I look forward to a potential part 2 :) Enjoy this episode! --- Send in a voice message: https://podcasters.spotify.com/pod/show/borntocreatepodcast/message

Peter-Astrid speaks with Melonie Green and Melorra Green, co-executive directors of the African American Art and Culture Complex and 2021 SF Pride Community Grand Marshals, about Juneteenth, their exhibition 'The Black Woman Is God,' and the art of Wangechi Mutu.

Studio Noize welcomes Dr. Tiffany E. Barber to the fam! (no relation to your boy JBarber) Tiffany is a scholar, curator, and critic that has done some great work around the ideas of Afrofuturism. We talk about the roles of Black artists, her work on and with Wangeshi Mutu, how studio visits help her with curating, and her love of dance. We're always excited to have high-level conversations about art with the scholars that are thinking about Black art. Another great conversation just for you. Episode 116 topics include:defining Black art,the complexities of Afrofuturism,Wangechi Mutu and Mary Sibande,studio visits with artists,curating exhibitions,how artists approach art,social media algorithms and art,artists getting recognized.Tiffany E. Barber is a scholar, curator, and critic of twentieth and twenty-first century visual art, new media, and performance. Her work, which spans abstraction, Afrofuturism, dance, fashion, feminism, and the ethics of representation and aesthetic criticism, focuses on artists of the Black diaspora working in the United States and the broader Atlantic world. She is Assistant Professor of Africana Studies and Art History at the University of Delaware. She has completed fellowships at ArtTable, the Delaware Art Museum, and the University of Virginia's Carter G. Woodson Institute for African-American and African Studies. During the 2021-2022 academic year, Dr. Barber will be a Postdoctoral Fellow at the Getty Research Institute.See More: www.tiffanyebarber.com + @tiffanyebarberFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Jillian Hernandez gives voice to girls and women of color in her 2020 book Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment. In this episode, you’ll hear how she has been delving into the “aesthetic hierarchies” of femme culture for more than a decade. Research, critical writing, and personal experience come together to enrich this vividly illustrated book. Hernandez shares a few stories of her own fraught adolescence, along with those of Women on the Rise!, a community of teenage girls for whom she and local artists created opportunities to collide with art, through the Museum of Contemporary Art, North Miami.    Sound Editor: Anamnesis Audio | Special Audio: Chonga Girls, “Chongalicious,” Crystal Pearl Molinary, “Off the Chain”   Related Episodes: Puerto Rico Rising—Resisting Paradise, The Awakening, Topical Playlist—Art and Feminism   Related Links, Jillian Hernandez, University of Florida, Duke University Press, Women on the Rise!, Museum of Contemporary Art, North Miami   Jillian Hernandez, a Miami native, is currently Assistant Professor in the Center for Gender, Sexualities, and Women’s Studies Research at the University of Florida. She is a transdisciplinary scholar interested in the stakes of embodiment, aesthetics, and performance for Black and Latinx women and girls, gender-nonconformists, and queers. In 2020, Hernandez completed her first book, Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment, through Duke University Press. She is developing other book-length projects on the radical politics of femme of color art and performance and Latinx creative erotics, ontologies, and relationalities. Hernandez received her Ph.D. in Women’s and Gender Studies at Rutgers University and teaches courses on racialized girlhoods, Latinx sexualities, theories of the body, social justice praxis, and cultural studies. Her scholarship is based on and inspired by over a decade of community arts work with Black and Latinx girls in Miami, Florida, through the Women on the Rise! program she established at the Museum of Contemporary Art in North Miami, in addition to her practice as an artist and curator. via University of Florida   Aesthetics of Excess: Heavy makeup, gaudy jewelry, dramatic hairstyles, and clothes that are considered cheap, fake, too short, too tight, or too masculine: working-class Black and Latina girls and women are often framed as embodying "excessive" styles that are presumed to indicate sexual deviance. In Aesthetics of Excess Jillian Hernandez examines how middle-class discourses of aesthetic value racialize the bodies of women and girls of color. At the same time, their style can be a source of cultural capital when appropriated by the contemporary art scene. Drawing on her community arts work with Black and Latina girls in Miami, Hernandez analyzes the art and self-image of these girls alongside works produced by contemporary artists and pop musicians such as Wangechi Mutu, Kara Walker, and Nicki Minaj. Through these relational readings, Hernandez shows how notions of high and low culture are complicated when women and girls of color engage in cultural production and how they challenge the policing of their bodies and sexualities through artistic authorship. via Duke University Press

Episode 55 features Courtney J. Martin. In 2019, she became the sixth director of the Yale Center for British Art. Previously, she was the deputy director and chief curator at the Dia Art Foundation; an assistant professor in the History of Art and Architecture department at Brown University; an assistant professor in the History of Art department at Vanderbilt University; a chancellor’s postdoctoral fellow in the History of Art at the University of California, Berkeley; a fellow at the Getty Research Institute; and a Henry Moore Institute research fellow. She also worked in the media, arts, and culture unit of the Ford Foundation in New York. In 2015, she received an Andy Warhol Foundation Arts Writers Grant. In 2012, Martin curated the exhibition Drop, Roll, Slide, Drip . . . Frank Bowling’s Poured Paintings 1973–1978 at Tate Britain. In 2014, she co-curated the group show Minimal Baroque: Post-Minimalism and Contemporary Art at Rønnebæksholm in Denmark. From 2008 to 2015, she co-led a research project on the Anglo-American art critic Lawrence Alloway at the Getty Research Institute and was co-editor of Lawrence Alloway: Critic and Curator (Getty Publications, 2015, winner of the 2016 Historians of British Art Book Award). In 2015, she curated an exhibition at the Dia Art Foundation focusing on the American painter Robert Ryman. At Dia, she also oversaw exhibitions of works by Dan Flavin, Sam Gilliam, Blinky Palermo, Dorothea Rockburne, Keith Sonnier, and Andy Warhol. She was editor of the book Four Generations: The Joyner Giuffrida Collection of Abstract Art (Gregory R. Miller & Co., 2016), surveying an important collection of modern and contemporary work by artists of African descent. As a graduate student in 2007, Martin contributed to the Center’s exhibition and publication Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds. She received a doctorate from Yale University for her research on twentieth-century British art and is the author of essays on Rasheed Araeen, Kader Attia, Rina Banerjee, Frank Bowling, Lara Favaretto, Leslie Hewitt, Asger Jorn, Wangechi Mutu, Ed Ruscha, and Yinka Shonibare CBE (RA). Yale News April 2019 https://news.yale.edu/2019/04/10/courtney-j-martin-09-phd-named-director-ycba The Art Newspaper September 2020 https://www.theartnewspaper.com/interview/yale-center-for-british-art-embraces-a-global-framework ARTnews April 2019 https://www.artnews.com/art-news/news/yale-center-british-art-courtney-martin-director-12328/ culture type June 2019 https://www.culturetype.com/2019/06/20/courtney-j-martin-appointed-director-of-yale-center-for-british-art-an-opportunity-the-yale-alum-called-too-good-to-pass-up/ Dia Art February 2017 https://diaart.org/about/press/courtney-j-martin-to-join-dias-curatorial-department-as-deputy-director-and-chief-curator/type/text Courtney Martin image credit Angelis Apolinario

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

In a world where black(ened) flesh, particularly feminine flesh, is considered the ontological zero of humanness, what interventions and complications are available from art and speculative fiction of the African diaspora? On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Zakkiyah Imam Jackson about the imaginative interventions of African cultural production into the racial logics of the so-called “Enlightenment,” past and present. Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020) breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo (NOW-LO) Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae (La-Hi), and the oratory of Frederick Douglass, Dr. Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human." Becoming Human is forthcoming as an audio book version in early January 2021. Keep an eye out if you prefer to listen to your new books! We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a world where black(ened) flesh, particularly feminine flesh, is considered the ontological zero of humanness, what interventions and complications are available from art and speculative fiction of the African diaspora? On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Zakkiyah Iman Jackson about the imaginative interventions of African cultural production into the racial logics of the so-called “Enlightenment,” past and present. Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020) breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo (NOW-LO) Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae (La-Hi), and the oratory of Frederick Douglass, Dr. Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human." Becoming Human is forthcoming as an audio book version in early January 2021. Keep an eye out if you prefer to listen to your new books! We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In a world where black(ened) flesh, particularly feminine flesh, is considered the ontological zero of humanness, what interventions and complications are available from art and speculative fiction of the African diaspora? On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Zakkiyah Imam Jackson about the imaginative interventions of African cultural production into the racial logics of the so-called “Enlightenment,” past and present. Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020) breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo (NOW-LO) Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae (La-Hi), and the oratory of Frederick Douglass, Dr. Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human." Becoming Human is forthcoming as an audio book version in early January 2021. Keep an eye out if you prefer to listen to your new books! We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a world where black(ened) flesh, particularly feminine flesh, is considered the ontological zero of humanness, what interventions and complications are available from art and speculative fiction of the African diaspora? On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Zakkiyah Imam Jackson about the imaginative interventions of African cultural production into the racial logics of the so-called “Enlightenment,” past and present. Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020) breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo (NOW-LO) Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae (La-Hi), and the oratory of Frederick Douglass, Dr. Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human." Becoming Human is forthcoming as an audio book version in early January 2021. Keep an eye out if you prefer to listen to your new books! We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a world where black(ened) flesh, particularly feminine flesh, is considered the ontological zero of humanness, what interventions and complications are available from art and speculative fiction of the African diaspora? On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Zakkiyah Imam Jackson about the imaginative interventions of African cultural production into the racial logics of the so-called “Enlightenment,” past and present. Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020) breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo (NOW-LO) Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae (La-Hi), and the oratory of Frederick Douglass, Dr. Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human." Becoming Human is forthcoming as an audio book version in early January 2021. Keep an eye out if you prefer to listen to your new books! We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a world where black(ened) flesh, particularly feminine flesh, is considered the ontological zero of humanness, what interventions and complications are available from art and speculative fiction of the African diaspora? On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Zakkiyah Imam Jackson about the imaginative interventions of African cultural production into the racial logics of the so-called “Enlightenment,” past and present. Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020) breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo (NOW-LO) Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae (La-Hi), and the oratory of Frederick Douglass, Dr. Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human." Becoming Human is forthcoming as an audio book version in early January 2021. Keep an eye out if you prefer to listen to your new books! We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wangechi Mutu, eclettica artista keniota, rende proprio il dialogo tra arte e antropologia. L'articolo Wangechi Mutu | Arte Donna | Arte Concas proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Wangechi Mutu, eclettica artista keniota, rende proprio il dialogo tra arte e antropologia. L'articolo Wangechi Mutu | Arte Donna | Arte Concas proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Join us as we take a closer look at Gianna’s sculptural work, while also discussing her Affinity Artists who have influenced her interests, knowledge, and visual practice in exploring personal and cultural traumas while exposing histories and documenting realities. We look at artists Kiki Smith, Nandipha Mntambo, and Wangechi Mutu.

Autumn Glocal Citizens! For the next two episodes, we’ll be visiting with healthtech entrepreneur and neurosurgeon, Dr. Muri Raifu. Muri is another Ghana native, by way of Nigeria. A scholar-athlete at Amherst College in Massachusetts, in addition to his medical training Muri also received his MPA from Harvard’s John F. Kennedy School of Government. Currently based in Los Angeles, California, Muri is blazing a trail both in his private practice, and his start-up Talamus Health which is in the business of improving and unifying healthcare delivery in emerging markets, helping patients interact with and share their health information with a connected circle of providers. Since launching in 2018, Talamus is emerging as a go to solution for health service providers partnering with more than 1,000 healthcare providers across Africa. Other notable early achievements include being named Most Scalable SME at the United Nations ITU Global Awards in 2018 and making Fast Company’s 50 Most Innovative Companies in the World list in 2019. This conversation is another Glocal Citizens gem where we take a seat on a coming of age and career tour with Muri from Ghana, across the US and back, across Africa. Where to find Muri and Talamus? On Talamus (http://www.talamushealth.com) On LInkedIn (https://www.linkedin.com/in/murisiku-muri-raifu-md-mpa-faans-3622a587/) On Facebook (https://www.facebook.com/muri.raifu) On Instagram (https://www.instagram.com/brainoperator1/) What’s Muri lightening to? Fela Kuti (https://felakuti.com/) Bob Marley (https://www.bobmarley.com) Shatta Wale (https://en.wikipedia.org/wiki/Shatta_Wale) Sarkodie (https://en.wikipedia.org/wiki/Sarkodie_(rapper)) Talib Kweli (http://www.talibkweli.com/) Mos Def (https://en.wikipedia.org/wiki/Mos_Def) Art and science of interest— PCR Primers (https://www.khanacademy.org/science/biology/biotech-dna-technology/dna-sequencing-pcr-electrophoresis/a/polymerase-chain-reaction-pcr) Wangechi Mutu (https://en.wikipedia.org/wiki/Wangechi_Mutu) Kenyan Visual Artist Yinka Shonibare (http://yinkashonibare.com/) British-Nigerian Artist Sanford Biggers (http://sanfordbiggers.com/) Harlem-based Visual Artist Amoako Boafo (https://marianeibrahim.com/artists/44-amoako-boafo/biography/) Ghanaian Painter Dotum Popoola (https://en.wikipedia.org/wiki/Dotun_Popoola) Hyperrealist Artists in Nigeria (https://www.cnn.com/2018/04/06/africa/ken-nwadiogbu-hyperrealist-artist-nigeria-africa/index.html) Special Guest: Muri Raifu, MD.

Autumn Glocal Citizens! For the next two episodes, we’ll be visiting with healthtech entrepreneur and neurosurgeon, Dr. Muri Raifu. Muri is another Ghana native, by way of Nigeria. A scholar-athlete at Amherst College in Massachusetts, in addition to his medical training Muri also received his MPA from Harvard’s John F. Kennedy School of Government. Currently based in Los Angeles, California, Muri is blazing a trail both in his private practice, and his start-up Talamus Health which is in the business of improving and unifying healthcare delivery in emerging markets, helping patients interact with and share their health information with a connected circle of providers. Since launching in 2018, Talamus is emerging as a go to solution for health service providers partnering with more than 1,000 healthcare providers across Africa. Other notable early achievements include being named Most Scalable SME at the United Nations ITU Global Awards in 2018 and making Fast Company’s 50 Most Innovative Companies in the World list in 2019. This conversation is another Glocal Citizens gem where we take a seat on a coming of age and career tour with Muri from Ghana, across the US and back, across Africa. Where to find Muri and Talamus? On Talamus (http://www.talamushealth.com) On LInkedIn (https://www.linkedin.com/in/murisiku-muri-raifu-md-mpa-faans-3622a587/) On Facebook (https://www.facebook.com/muri.raifu) On Instagram (https://www.instagram.com/brainoperator1/) What’s Muri lightening to? Fela Kuti (https://felakuti.com/) Bob Marley (https://www.bobmarley.com) Shatta Wale (https://en.wikipedia.org/wiki/Shatta_Wale) Sarkodie (https://en.wikipedia.org/wiki/Sarkodie_(rapper)) Talib Kweli (http://www.talibkweli.com/) Mos Def (https://en.wikipedia.org/wiki/Mos_Def) Art and science of interest— PCR Primers (https://www.khanacademy.org/science/biology/biotech-dna-technology/dna-sequencing-pcr-electrophoresis/a/polymerase-chain-reaction-pcr) Wangechi Mutu (https://en.wikipedia.org/wiki/Wangechi_Mutu) Kenyan Visual Artist Yinka Shonibare (http://yinkashonibare.com/) British-Nigerian Artist Sanford Biggers (http://sanfordbiggers.com/) Harlem-based Visual Artist Amoako Boafo (https://marianeibrahim.com/artists/44-amoako-boafo/biography/) Ghanaian Painter Dotum Popoola (https://en.wikipedia.org/wiki/Dotun_Popoola) Hyperrealist Artists in Nigeria (https://www.cnn.com/2018/04/06/africa/ken-nwadiogbu-hyperrealist-artist-nigeria-africa/index.html) Special Guest: Muri Raifu, MD.

On this edition of Parallax Views, we delve into the waters of critical theory and posthumanism as Dr. Zakkiyah Jackson joins us to discuss her recent book Becoming Human: Meaning and Matter in an Antiblack World. Using key African diasporic literary texts, from Frederick Douglas to Octavia E. Butler, Dr. Jackson attempts to grapple with the the way blackness and animality have often been linked in Western thought and perception as well as the way blackness, as a form, is experimented on through what she refer to as its' "plasticity". From the synopsis of Becoming Human: Matter and Meaning in an Antiblack World: Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae, and the oratory of Frederick Douglass, Zakiyyah Iman Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. In so doing, Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism.Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human."

Welcome to Season 6 of Talk Art! Recorded on 10th April 2020, we chat to Troy Michie, the acclaimed American collage artist, painter, interdisciplinary installation artist, and sculptor based in New York City. Michie's work is often in dialogue with the canon of collage; as well as investigating society's understanding of race, gender, sexuality, and other fields of identity and power. This episode is released on the anniversary of the Zoot Suit Riots in Los Angeles from June 3-8th 1943, which has been frequently referenced in Michie's work.We discuss the history of collage, vintage erotic and pornographic magazines, his hometown of El Paso, a border city between USA and Mexico, growing up bilingual, lies about immigration, racial stereotypes, media misconceptions and the ‘fear of the other’. We explore woven paper collage, a new development in Troy’s practice, as well as assemblage works on wooden panels, and sewing through paper.We explore the 1943 Zoot Suit Riots and his body of work referencing the dapper & flamboyant Zoot Suit style, Jazz music, Pachuco culture and its long lasting impact on popular culture including mainstream films Who Framed Roger Rabbit, Bugsy Malone and Dick Tracey. We discuss camouflage theory & Roland Penrose's disruptive patterning theory, Razzle Dazzle warships, queerness and the camouflaging the self within society, safety of marginalised communities and in particular the violence and murders of the transgender community in New York.His admiration for Nancy Brooks Brody, Mark Bradford, Magritte and the Surrealists, Méret Oppenheim, Frida Kahlo, Hannah Höch, Nouveau réalisme, Kara Walker, John Stezaker, Wangechi Mutu and Wilfredo Lam. We reflect on his works in shows at New Museum, the Whitney Biennial 2019 and his primary gallery Company. We discover the inspiration he drew from The Invisible Man novel and how he hopes to honour the memory of his grandmother and his family of hard working women, growing up listening to eclectic music by Sugar Cubes to Aretha Franklin and writing songs himself.Follow @TroyMichie on Instagram, his official website https://www.troymichie.com/ and please also visit Troy's gallery @CompanyGallery and their website https://companygallery.us/. 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. Thank you for listening to Talk Art, we will be back very soon. See acast.com/privacy for privacy and opt-out information.

In Episode 27 of The Great Women Artists Podcast, Katy Hessel interviews the phenomenal artist, DEBORAH ROBERTS!!  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] The MOST entertaining guest, the Austin-born and based Deborah is known for combining collage with mixed media in her figurative works that depict the complexity of black subjecthood, and explore themes of race, identity, and gender politics.  By using collage, she reflects the beauty, strength, and power but also challenges encountered by young black children, as they strive to build their identity, particularly as they respond to preconceived social constructs perpetuated by the black community. "With collage I can create a more expansive and inclusive view of the black experience." Inspired by Wangechi Mutu and Hannah Höch, Roberts combines a range of different facial features – from James Baldwin to Rihanna – as well skin tones, hairstyles, and a myriad of vibrant outfits. One of the leading artists in America, being in the collections of the Whitney to SF MoMA, the ICA Boston, Studio Museum, Brooklyn Museum, it has only been in the past few years that Roberts has gained the recognition she rightly deserves. i LOVED recording this episode so much. Not only was Deborah hilarious and brilliant, but we also speak about the very serious and very present underlying matters in her work, and how, through art she is helping to rectify the portrayal of young children of colour in the media, and in history. Deborah is a genius, so please do enjoy this episode!!  FURTHER LINKS: Follow Deborah on Instagram: https://www.instagram.com/rdeborah191/?hl=en https://www.stephenfriedman.com/artists/51-deborah-roberts/ https://www.nytimes.com/2020/04/12/arts/design/deborah-roberts-artist-virus-austin.html This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Join Kat and Christa David in this inspiring conversation. We talk about: How Christa David became an artist and left her job as a public health researcher to become an artist Raising awareness to critical cultural issues through art and storytelling Approaching our careers from a big picture perspective  + More   Christa David is a visual artist, writer and researcher. Inspired by the artistic works of Romare Bearden, Wangechi Mutu, Alma Woodsey Thomas and literary works of James Baldwin, Christa David fuses the mediums of painting, collage and assemblage to create and recreate stories about home, belonging, faith, and identity. In September 2016, after years of “making art in the cracks” (nights and weekends) along-side her demanding work as senior public health researcher New York City, Christa David leaped into making art full-time. Christa David is proud two-time Columbia University Lion, holding Bachelor of Arts and Masters degrees from Columbia University. Her work is held in personal and public collections throughout the United States including the prominent David C. Driskell Center and has been most recently exhibited at Longwood Gallery at Hostos College in Bronx, NY and PRIZM Art Fair at Art Basel in Miami Beach. Christa David currently lives and works between New York City and Atlanta.    www.createmagazine.com/podcast

Is your spine a column of bones or is it a pearl necklace? You be the judge. (Hint: it can be both!) Curious about artists who paint the body in imagined and mystical ways? Here's your Art Rx: Frida Kahlo (check out google's arts and culture exhibit) Wangechi Mutu (at Victoria-Miro) Frank Moore (also on google arts and culture)

In Episode 04 of The Great Women Artists Podcast, Katy Hessel interviews one of the most highly regarded young artists working today, the Harlem-born painter, TSCHABALALA SELF!! A graduate of the Yale School of Art and a recent participant of the AMAZING Studio Museum Residency, the brilliant Tschabalala is known for her expressive, vibrant and dynamic works of human figure, that combines paint, printmaking, collage and sculpture. With her primary concern centring around the black female body, Self explores subjects around race, gender, and identity through powerful and bold images of women. In this episode we discuss Tschabalala's beginnings in Harlem, the place that has culturally shaped who she is today and the impact it's had on her work; the artists who continue to inspire her – from Faith Ringgold, Kehinde Wiley and Clementine Hunter; the stories behind the figures and the 'settings' she places them in; her artistic process; interests in the environment that surrounds her characters, in particular the bodega; and her previous and current exhibitions – one of which, "Thigh High" is on right now at Pilar Corrias Gallery in London. She is SO brilliant and SO interesting, and I couldn't be more honoured to interview someone right at the forefront of their career. She's killing it. ENJOY!! WORKS / EXHIBITIONS DISCUSSED IN THIS EPISODE: Bodega Run –  The Hammer, LA: https://hammer.ucla.edu/exhibitions/2019/hammer-projects-tschabalala-self/ Pila Corrias, London: https://www.pilarcorrias.com/exhibitions/tschabalala-self-bodega-run/ Thigh High –  Currently on view at Pilar Corrias, until 9 November: https://www.pilarcorrias.com/exhibitions/tschabalala-self/ Tschabalala Self – Parasol Unit, 2017: https://parasol-unit.org/whats-on/tschabalala-self/ Studio Museum Residency: https://www.moma.org/calendar/exhibitions/5086 Upcoming exhibitions: ICA Boston –  https://www.icaboston.org/exhibitions/tschabalala-self-out-body Artists discussed include: Faith Ringgold, Mickalene Thomas, Wangechi Mutu, Clementine Hunter Thank you for listening!! This episode is sponsored by the Affordable Art Fair: @affordableartfairuk Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Artwork by @thisisaliceskinner Sound editing by @_ellieclifford / @_naomiabel Music by Ben Wetherfield

Courtney Alexander is the maker of Dust II Onyx: A Melanated Tarot, a Tarot deck designed for a black audience. Dust II Onyx was an instant hit, but the emotional toll of success almost destroyed Courtney. Was it worth it? Store: Dust II Onyx Recommended: University of South Florida, Wangechi Mutu, The Hoodwitch, Dust II Onyx: An Interview With Courtney Alexander Host Anshuman Iddamsetty Producers Michelle Macklem Emma Fedderson Anshuman Iddamsetty Senior Supervising Producer Tammi Downey Engineer Jason ‘Metal’ Donkersgoed Musical Score Jim Guthrie

Episode Four brings us Wangechi Mutu's RIDING DEATH IN MY SLEEP, our first example of contemporary art inside the Galler-E for this exhibition! With RIDING DEATH IN MY SLEEP, we also discuss collage, colonialism, porno mags, crafting beauty out of pain, and how the way we make art can reflect what the art means. BIBLIOGRAPHY: • Image and write-up from Artsy: https://www.artsy.net/artwork/wangechi-mutu-riding-death-in-my-sleep • An amazing profile of Wangechi's work from the Saachi Gallery, London: https://www.saatchigallery.com/artists/wangechi_mutu.htm • A lovely biography of Wangechi Mutu from Artnet: http://www.artnet.com/artists/wangechi-mutu/ • And finally, Wangechi Mutu's portfolio: http://www.wangechimutu.com --- Support this podcast: https://podcasters.spotify.com/pod/show/yrdigitaldocent/support

In the April 2018 edition of Suite (212), returning host Juliet Jacques talks to artist, musician and filmmaker Larry Achiampong and dancer/performer Alexandrina Hemsley (of Project O) about race, racism and the arts. (Cover image: 'Self-Portrait Exaggerating My Negroid Features' by Adrian Piper, 1981) WORKS REFERENCED: LARRY ACHIAMPONG & DAVID BLANDY: Biters - http://www.larryachiampong.co.uk/list-of-artworks/biters LARRY ACHIAMPONG & DAVID BLANDY: Finding Fanon, parts I-III - https://vimeo.com/138951543 LARRY ACHIAMPONG: Relic Traveller - http://larryachiampong.co.uk/list-of-artworks/voyage-of-the-relic-traveller ALEXANDRINA HEMSLEY: Feminist Shakedown - http://feministshakedown.tumblr.com/ ALEXANDRINA HEMSLEY & SEKE CHIMUTENGWENDE: Black Holes - www.blackholes.co.uk JAY BERNARD: Surge - Side A - https://www.theguardian.com/books/2018/apr/05/speaking-out-jay-bernard-surge-side-a-poet BLACK AUDIO FILM COLLECTIVE: Handsworth Songs, Part I (1986) - http://unrealisedfutures.tumblr.com/post/134049237625/black-audio-film-collective-handsworth-songs RENI EDDO-LODGE, Why I'm No Longer Talking to White People abour Race [2014 blog post] - http://renieddolodge.co.uk/why-im-no-longer-talking-to-white-people-about-race/ STUART HALL & MAGGIE STEED: It Ain't Half Racist Mum - http://unrealisedfutures.tumblr.com/post/133964781230/stuart-hall-it-aint-half-racist-mum-1979 CLARISSA PINKOLA ESTÉS: Women Who Run with the Wolves - https://medium.com/@kami_leon/13-reasons-why-you-should-read-women-who-run-with-the-wolves-instead-36435ea32b4 ADRIAN PIPER: 'Self-Portrait Exaggerating My Negroid Features' - http://adrianpiperarted.blogspot.co.uk/2009/11/self-portrait-exaggerating-my-negroid.html NIKESH SHUKLA (ed.): The Good Immigrant - https://unbound.com/books/the-good-immigrant/ Sutapa Biswas: https://en.wikipedia.org/wiki/Sutapa_Biswas Sonia Boyce: https://www.royalacademy.org.uk/art-artists/name/sonia-boyce-ra Octavia Butler: https://www.theguardian.com/news/2006/mar/16/guardianobituaries.bookscomment Lubaina Himid: http://www.tate.org.uk/art/artists/lubaina-himid-2356/turner-prize-2017-biography Sabrina Mahfouz: http://www.sabrinamahfouz.com/ Pauline Mayers: https://paulinemayers.wordpress.com/ Wangechi Mutu: http://www.ubu.com/film/mutu.html Network 11 (Junior Boakye-Yiadom, Beverly Bennett and others): https://ntwrk11.wordpress.com Kamile Ofoeme: https://vimeo.com/user35307978 Selina Thompson: http://selinathompson.co.uk/ Akeim Toussaint Buck: http://www.toussainttomove.com/ Priyamvada Gopal's response to the Daily Mail - https://medium.com/@zen.catgirl/my-heartfelt-thanks-to-the-hundreds-of-people-who-have-sent-their-solidarity-and-support-via-email-5f9739ec5dba Ash Sarkar on the BBC and Enoch Powell - https://www.independent.co.uk/voices/bbc-enoch-powell-rivers-of-blood-racism-brexit-wrong-to-run-it-a8302766.html Kit de Waal interview (Guardian) - https://www.theguardian.com/books/2018/mar/24/kit-de-waal-interview-the-trick-to-time Tate, 'The Other Story' exhibition (1989) - http://www.tate.org.uk/research/publications/tate-papers/no-12/the-other-story-and-the-past-imperfect Tate Modern, 'Soul of a Nation' exhibition (2017) - https://www.theguardian.com/artanddesign/2017/jul/16/soul-of-a-nation-art-in-the-age-of-black-power-tate-modern-review

SINSMITH RADIO: REMEMBER, THEY LIVE I talk about losing a friend because of his race and the fallout; an African artist talks about blackness; John Carpenter's movie 'They Live' and Michael Jackson's song 'Remember the Time' set the scene. FEATURING: Kristina Zubkova, St. John McKay Smith, Wangechi Mutu. MUSIC: 'Remember The Time', Michael Jackson MUSIC/INTERLUDES: 'They Live', John Carpenter, 1988

A riveting and candid conversation charting Wangechi Mutu’s career to date via her varied sources of inspiration, including her current exploration of the possibilities of printmaking, mythology and more. Audio recording.

April 18, 2013 Through her sculptures and paintings, Kenyan-born Wangechi Mutu pays homage to notions of the sublime and the abject together with identity, race, and poverty. In conversation with Curator at Large Klaus Ottmann. In collaboration with the George Washington University.

This week: Duncan talks with Wangechi Mutu! With many thanks to the School of the Art Institute of Chicago's visiting artist program for making this interview possible. Wangechi Mutu (b.1972, Nairobi, Kenya) is an artist who lives and works in Brooklyn, New York. Originally from the Kenyan Kikuyu tribe, she was educated in Nairobi at Loreto Convent Msongari (1978-1989) and later studied at the United World College of the Atlantic, Wales (I.B., 1991). Mutu moved to New York in the 1990s, focusing on Fine Arts and Anthropology at the New School for Social Research and Parsons School of Art and Design. She earned a BFA from the Cooper Union for the Advancement of the Arts and Science in 1996, and then received an MFA from Yale University (2000). Mutu’s work has been exhibited at galleries and museums worldwide including the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Museum Kunst Palast in Düsseldorf, Germany, and the Centre Pompidou in Paris. Her first solo exhibition at a major North American museum opened at the Art Gallery of Ontario in March 2010.[1]She participated in the 2008 Prospect 1 Biennial in New Orleans and the 2004 Gwangju Biennale in South Korea. Her work has been featured in major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President: The Art and Legacy of Fela Anikulapo-Kuti at the New Museum of Contemporary Art in New York and the Barbican Centre in London, and USA Today at The Royal Academy in London. On February 23, 2010 Wangechi Mutu was honored by Deutsche Bank as their first Artist of the Year. The prize included a solo exhibition at the Deutsche Guggenheim in Berlin. Titled My Dirty Little Heaven, the show traveled in June 2010 to Wiels Center for Contemporary Art in Brussels, Belgium. She is represented by Barbara Gladstone in New York, Susanne Vielmetter Los Angeles Projects in Los Angeles and Victoria Miro Gallery in London.

Robert Enright and panelists Allyson Mitchell and Dionne Brand in a lively discussion about the art of Wangechi Mutu. Focused upon imagery of the human body, Mutu's work offers a radical deconstruction of traditional figuration that bridges her Kenyan upbringing with contemporary American reality.

Robert Enright and panelists Allyson Mitchell and Dionne Brand in a lively discussion about the art of Wangechi Mutu. Focused upon imagery of the human body, Mutu’s work offers a radical deconstruction of traditional figuration that bridges her Kenyan upbringing with contemporary American reality.

An interview that goes off the rails, reviews, our San Francisco branch checks in! Wow! Check out our new NEWS FLASH section below. THIS WEEK: Liz Armstrong, author of the Chicago Anti-social column in the Reader. From her Wikipedia entry: Liz Armstrong lives in Chicago, Illinois. She has performed solo and with the bands To Live and Shave in L.A. and To Live and Shave in L.A. 2 under the stage name "Misty Martinez." Since 2004, she has written first-person party journalism for the Chicago Reader in her "Chicago Antisocial" column. But that doesn't begin to cover our knife wielding interview. Liz is the first guest to show up "heavy" to an interview. She was none-the-less delightful and wacky to talk to. Amanda and Liz have a battle royalle and end up pals! This interview is a non-stop action fest loaded withconfessional jaw dropping moments. You'll laugh, you'll cry, it will become a part of you. You'll listen again and again. It's downright worthy of Chicago Anti-Social. If that wasn't enough, Amanda, Duncan and Richard review the new shows at Giola, Gescheidle, Aron Packer and the Beverly Art Center. Names dropped:Fred Stonehouse, Michael Noland, James Rosenquist, Barbara Weisen, The Gahlberg Gallery at the College of DuPage, NASCAR, Arturo Herrera, Martin O'Conner, Jeremy Black, Jason Ruhl, Marcel Dzama, Michael Dumontier, Neil Farber, The Royal Art Lodge, Shelley Spector, Instant Coffee, Kiki Smith, Kota Ezawa, Cornelia Parker, Wang Du, Wangechi Mutu, The Beverly Art Center, Jenny O'Conner, Stephen Warde Anderson, Hank Feeley, and there are about a zillion artists in the Tattoo show that you need to go and check out on your own as I left the list at work, sorry. NEWS FLASH: New City answered all of our Gallery 400 related questions. Check it out The Rest of the Story!!! While you're at it check out Amanda's review! Amanda's Review VOTE FOR US PLEASE! We are listed as the second best art podcast, how dare they! Help us be #1!!! VOTE NOW!!! NEXT WEEK: Reviews from London, our San Francisco correspondent interviews internationally famous rapper and performance artist Jelly-Doughnut at the Doughnut shop featured in the Maximum Wage video, and so much more! The following week we are interviewing rock star curator James Rondeau. Free up some time to listen, these will be great shows.