April 18, 2018 – 8:30AM to 4:30PM Michael C

Total Page:16

File Type:pdf, Size:1020Kb

April 18, 2018 – 8:30AM to 4:30PM Michael C April 18, 2018 – 8:30AM to 4:30PM Michael C. Carlos Museum, Atlanta, GA Session Description 8:30-9:30 AM Julie Rhoad, President & CEO, The AIDS Memorial Quilt / The Leadership Profile NAMES Foundation discusses what leadership in the Atlanta Region means and her personal vision and style of leadership. Julie Rhoad, The AIDS Memorial Quilt 9:45-11:00 AM Creativity & Arts at Emory Healthcare strives to enhance patient Arts & Health experiences through the arts by deepening our partnerships with the Winship Cancer Institute and Emory’s Alzheimer’s Disease Research Candy Tate, Emory Center for Center. Creativity & Arts Lillian Russo, Winship Cancer Institute Whitney Wharton, Emory University School of Medicine 11:15-Noon A chance for the class to reflect on the day and the class so far. Class Discussion Noon-1:00 PM Lunch 1:00-2:15 PM Tour of the Rose Library with a discussion of how artists use literary Tour of Rose Library collections and the role of academia in the arts and in the region. Pellom McDaniels III, Rose Library 2:30-3:00PM Our last session will go right until the closing bell for the day. We’ll do Class Discussion our wrap up beforehand! Evaluation 3:00-4:30 PM Brandon Jones will break down a case study of a creative Public Art & Creative Placemaking placemaking project, discussing how it was planned, executed and evaluated. Brandon Jones, WonderRoot Katherine Dirga, MARTA Katherine Dirga will discuss MARTA’s Artbound program and public art in public transit. Also: 5pm: Post-class gathering at Double Zero at in the Emory Village – 1577 North Decatur Road Julie Rhoad President & CEO – The AIDS Memorial Quilt / The NAMES Project Foundation President and CEO of The NAMES Project Foundation since 2001, Julie Rhoad has focused her time on keeping the issue of HIV/AIDS prevention front and center with thoughtleaders and the public alike. Under Julie’s leadership, the foundation has expanded The AIDS Memorial Quilt’s outreach to ever-growing communities in need, starting key programs such as “Call My Name,” which works to encourage panel-making and HIV prevention in the African American community, as well as programs for middle and high schools to reach our new generation of youth with prevention and other educational messages. She also oversees the ongoing work of making Quilt panels available to organizations throughout the country and around the world for educational programs and community-based fundraisers, as well as the ongoing care and upkeep of all of the 48,000+ Quilt panels handsewn by family and friends who have lost loved ones to AIDS. Prior to joining The NAMES Project Foundation, Julie enjoyed a successful career as a creative director, producer and owner of Candler Creative, Inc., a firm providing innovations in communications strategy and special event planning. She has worked throughout the world creating, producing and executing domestic and international special events, presentations and shows. In addition, she has provided design and project management services in the areas of exhibit design and integrated audiovisual systems applications for museums, visitor centers, customer and product presentation centers and traveling expositions. Her corporate clients included The Coca-Cola Company, Coca-Cola Enterprises, Inc., BP America, Dun & Bradstreet Software, Reebok International, Ltd., Dentsu, Inc., The Mitsui Corporation, Software Solutions, Inc., The System One Corporation, KFC-I, Continental Airlines, Georgia Pacific, Prudential Bank and ENTEX Information Services, Inc. Julie began her career as a professional theatrical stage manager and, in regional and stock theatre, she held a variety of positions including production manager, technical director, general manager and production stage manager prior to becoming active in the corporate communications field. Julie is thrilled to return her roots in non-profit with The NAMES Project Foundation/The AIDS Memorial Quilt. Dr. R. Candy Tate Assistant Director – Emory Center for Creativity & Arts Dr. Rachanice Candy Tate is an Art Historian and Assistant Director of Emory’s Center for Creativity & Arts. She has worked with photographers and painters to facilitate community projects through Arts at Emory’s “Reach Initiative” to have deeper engagement with Atlanta. Creativity & Arts at Emory Healthcare is one of the interdisciplinary programs she manages with the Alzheimer’s Disease Research Center and Emory’s Winship Cancer Institute facilitating art engagement with patients, caregivers, volunteers, and staff. Tate is a graduate of Clark Atlanta University’s History Department where her dissertation was “Our Art Itself was Our Activism: Atlanta’s Neighborhood Arts Center.” Her research interests include cultural politics in Atlanta, African American photographers and veterans’ history. A native of Atlanta, she finished her undergraduate work at Emory University in Art History. Her Masters degrees are from Georgia State University in Public Administration and Non Profit Management and from the University of Wisconsin-Milwaukee in Art History. She is a 2017 graduate of Arts Leaders of Metro Atlanta. Lillian Russo Activities Coordinator – Arts in Health at Winship Cancer Institute of Emory Lillian Russo is Activities Coordinator for Arts in Health at Winship Cancer Institute of Emory University. Winship works to enhance the patient’s experience through creative arts that focus on self-expression and compliment traditional treatments. Dr. Whitney Wharton Assistant Professor – Department of Neurology, Emory University School of Medicine Dr. Wharton is a cognitive neuroscientist specializing in Alzheimer’s disease (AD) and related disorders. She received her BA at the University of Texas at Austin and went on to complete her doctoral training at The George Washington University in Washington DC. She completed her postdoctoral fellowship at the University of Wisconsin in Madison. Her research focuses on the influence of vascular risk factors on Alzheimer’s biomarkers in individuals who are at risk for the disease due a parental history. She conducts both observational and clinical trials that investigate the extent to which blood pressure and blood pressure medications act on brain systems known to be involved in AD neuropathology. Dr. Wharton is currently conducting an NIH/NIA funded study investigating the influence of peripheral arterial function on AD biomarkers by measuring beta amyloid levels and blood flow in the brain in individuals at risk for AD. Her secondary area of research involves the influence of sex hormones and hormone therapy on cognition and AD neuropathology. Dr. Pellom McDaniels III Curator of African American Collections, Emory University Stuart A. Rose Manuscript, Archives, & Rare Book Library Dr. Pellom McDaniels III is the curator of African American collections in the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University. He is the author of The Prince of Jockeys: The Life of Isaac Burns Murphy (2013), and editor of two recent volumes Porter, Steward, Citizen: An African Americans Memoir of World War I (2017) and Still Raising Hell: The Art, Activism, and Archives of Camille Billops and James V. Hatch (2016). Dr. McDaniels has contributed essays to anthologies such as Before Jackie Robinson: The Transcendent Role of Black Sports Pioneers (2017), The Olympics and Philosophy (2012), and All Stars and Movie Stars: Sports in Film History (2010). His current project For Dignity and Honor: A Photographic Meditation on African American Masculinity and World War I is under contract with Northwestern University Press and slated for publication in 2019. He has curated or co-curated nearly a dozen exhibitions over the last three years including “A Question of Manhood: African Americans and World War I” (2017); “Still Raising Hell: The Art, Activism, andArchives of Camille Billops and James V. Hatch (2016); “Breaking Barriers: Sports for Change” (2016); “Othello: The Moor Speaks” (2016), “Pearl Cleage: A Time for Reflection (2015); and “What Must Be Remembered: An Exhibition Inspired by Natasha Trethewey’s Poem ‘Native Guard’” (2014). Dr. McDaniels has also tried his hand at screenwriting. In 2015, his first screenplay based on the biography The Prince of Jockeys was optioned and is currently in pre- production. He is also an accomplished visual artist. His 2017 exhibition, Black: Towards an Afro-Cosmological Understanding, marked his debut of new works on paper after a ten-year hiatus. This work centers around understanding the complexities of identity construction for people of African descent throughout American history, especially African American males. Brandon Jones Head of Creative Placemaking – WonderRoot As the Head of the Creative Placemaking Department at WonderRoot, Brandon Jones works to creatively align the built environment with the collective identities of the community it serves. Under Brandon’s leadership, the Creative Placemaking department leverages cross- sector partnerships, civic engagement, and artistic strategies as tools for community development in the metro Atlanta region. Deeply committed to fighting inequity in Atlanta, Brandon serves as the Co-Chair of the Creative Placemaking Committee for the TransFormation Alliance, a collaborative addressing equitable transit-oriented development and communities; on Advisory Board of Twin Radius, an organization connecting artists and faith-based communities; and is a member of the ARC Community Engagement Network. He also served as the Community Engagement
Recommended publications
  • A History of African American Theatre Errol G
    Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays.
    [Show full text]
  • Btn 33 Program Print Copy
    BLACK THEATRE: UNAPOLOGETICALLY BLACK Black Theatre Network | 33rd Annual Conference | Winston-Salem, NC Welcome to #BTN33 at our bi-annual home at the A quick guide to Brookstown Inn in Winston-Salem, NC! We’re thrilled to studentquest(SQ) have you with us for an unapologetically inspirational, spirited, programming: feisty, fun, and BLACK Theatre Network conference! StudentQuest is a series of classes, activities, and career- building sessions particularly selected for the students attending BTN conferences. They provide the opportunity for BTN members to invest in the future of Black Theatre through discussions, sharings, and new skills. Student participants are encouraged to BTN Executive Board Members attend these sessions as well as to participate in any of the other BTN’s MEETING SPACES AT THE BROOKSTOWN: sessions that interest or inspire them. Likewise, these sessions are open to all Marvin Sims conference participants. Hospitality Charles Weldon Ballroom Suite StudentQuest sessions are all (when rooms are combined) indicated within the pages of Felix Cochren Shirley Prendergast Paul Jackson Meeting Room this program with (SQ) next to Meeting Room Meeting Room the session’s title. Brookstown inn address: please use this address for all deliveries, Camille Billops ntozake shange Lobby ride services, etc. Board Room 200 Brookstown Ave Winston-Salem, NC 27101 Phone: (336) 725-1120 John House Courtyard Unapologetically black Table of Contents 4-5 Messages from the President and Vice President Andre Harrington, BTN President, and Chris Berry, BTN Vice President, share their thoughts about Unapologetically Back Theatre. 6-7 BTN’s Mission, Purpose, & History Historical facts & details, including BTN Executive Board Members, previous conference sites, and a retelling of the BTN origin story as curated by Past Presidents Dr.
    [Show full text]
  • CAMILLE BILLOPS B. 1933 Los Angeles, CA D. 2019 New York, NY
    CAMILLE BILLOPS b. 1933 Los Angeles, CA d. 2019 New York, NY Education 1973 MFA, City College of New York 1960 BA, California State College Solo Exhibitions 2016 Still Raising Hell: The Art, Activism, and Archives of Camille Billops and James V. Hatch, Atlanta, GA 2012 Camille Billops: Prints & Posters, Leeway Foundation, Philadelphia, PA 2011 Films by Camille Billops, Hammer Museum at the University of California at Los Angeles 1997 Inside the Minstrel Mask, Noel Fine Art Acquisitions, Charlotte, North Carolina 1993 University of North Carolina at Charlotte 1990 Clark College, Atlanta University 1986 Calkins Gallery, Hofstra University, Hempsted, N.Y. Gallery at Quaker Corner, Plainfield, NJ 1984 Southeast Arkansas Arts & Science Center, Pine, Bluff 1993 University of North Carolina at Charlotte 1990 Clark College, Atlanta University 1986 Calkins Gallery, Hofstra University, Hempstead, N.Y. Gallery at Quaker Corner, Plainfield, NJ 1984 Southeast Arkansas Arts & Science Center, Pine, Bluff 1983 Pescadores Hsien Library, Making, Taiwan Chau Yea Gallery, Kaohsiung, Taiwan American Cultural Center, Taipei, Taiwan American Center, Karachi, Pakistan Otto Rene Castillo Center, New York 1981 The Bronx Museum of Art, Bronx, NY 1980 Harlem Book of the Dead Performance Piece, Buchhandlung Welt, Hamburg, West Germany 1977 Faculty Exhibition, Rutgers University, Newark, NJ 1976 Foto-Falle Gallery, Hamburg, West Germany 1974 Winston Salem North Carolina State University 1973 Ornette Coleman’s Artist House, SOHO, New York 1965 Galerie Akhenaton, Cairo,
    [Show full text]
  • Digital Review Copy May Not Be Copied Or Reproduced Without Permission from the Museum of Contemporary Art Chicago
    DIGITAL REVIEW COPY MAY NOT BE COPIED OR REPRODUCED WITHOUT PERMISSION FROM THE MUSEUM OF CONTEMPORARY ART CHICAGO. HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Published by the Museum of Contemporary Art Chicago and DelMonico Books•Prestel NAOMI BECKWITH is Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago. VALERIE CASSEL OLIVER is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. ON THE JACKET Front: Untitled #4D (detail), 2009. Mixed media on paper collage; 7 × 10 in. Back: Timothy Greenfield-Sanders, Howardena Pindell from the series Art World, 1980. Gelatin silver print, edition 2/2; 13 3/4 × 10 3/8 in. The Museum of Fine Arts, Houston, Gift of Mr. and Mrs. Neil E. Kelley, 2006.867. © Timothy Greenfield-Sanders, All Rights Reserved. Courtesy of Hiram Butler Gallery. Printed in China HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Edited by Naomi Beckwith and Valerie Cassel Oliver Museum of Contemporary Art Chicago DelMonico Books • Prestel Munich London New York CONTENTS 15 DIRECTOR’S FOREWORD Madeleine Grynsztejn 17 ACKNOWLEDGMENTS Naomi Beckwith Valerie Cassel Oliver 21 OPENING THOUGHTS Naomi Beckwith Valerie Cassel Oliver 31 CLEARLY SEEN: A CHRONOLOGY Sarah Cowan 53 SYNTHESIS AND INTEGRATION IN THE WORK Lowery Stokes Sims OF HOWARDENA PINDELL, 1972–1992: A (RE) CONSIDERATION 87 BODY OPTICS, OR HOWARDENA PINDELL’S Naomi Beckwith WAYS OF SEEING 109 THE TAO OF ABSTRACTION: Valerie Cassel Oliver PINDELL’S MEDITATIONS ON DRAWING 137 HOWARDENA PINDELL: Charles
    [Show full text]
  • The SRRT Newsletter
    Digital image fromDigital image October 2020 Issue 212 Shutterstock . The SRRT Newsletter Libraries and Voting During COVID-19 Dear The SRRT NewsletterReaders, I hope the best for your health and your work as we continue with the challenge of COVID-19. In this issue, we have taken a closer look at what libraries are doing to support voting in their communities. The role of libraries in helping people register and vote can be a critical one, especially in states that have so many barriers to voting, such as requiring a witness to sign a mail-in ballot (e.g., Wis- Inside this issue consin), requiring a copy of an acceptable ID to be included with a mail-in ballot (e.g., Alabama) or not allowing ballot drop boxes (e.g., Tennessee). We encour- From the Coordinator-Elect.........2 age libraries to provide as much information as possible for local voters, so they know where and how to register and vote and what they need to do that. There are some excellent websites that Call for SRRT Elected Offices ........3 provide specific information about local voting and registrations, such asVote.org. VoteRiders helps Voices From the Past ...................3 people actually obtain the ID they need. GODORT has put together a Voting and Election toolkit. HHPTF has also put together a template that can be used to guide libraries in providing relevant and So All Can Attend .........................4 timely accurate voting and registration information for each community. The document also pro- FTF News .....................................5 vides a short annotated list of recommended websites.
    [Show full text]
  • Dinner Focuses on Leadership Blue Devils Conquer Streaking Cavaliers
    Duke blows past Greensboro The baseball team rallied for a 8-7 victory over Greensboro College THE CHRONICLE Wednesday. See Sports, p. 13. THURSDAY. FEBRUARY 15. 1996 = ONE COPY FREE DUKE UNIVERSIT DURHAM. NORTH CAROLINA CIRCULATION: 15.000 VOL. 91, NO. 96 Blue Devils conquer streaking Cavaliers By WILLIAM DVORANCHIK It was a game that both In a surprise change of teams desperately needed to venues, WrestleMania held its win, but neither team wanted feature event in Cameron In­ to take. The matchup kept door Stadium Wednesday both teams mired in the mid­ night. dle of the ACC pack with iden­ In other sporting news, the tical 5-7 conference records. Duke and Virginia men's bas­ Duke's NCAA chances received ketball teams were able to a boost with the win, as the squeeze in an important At­ Blue Devils improved to 14-10 lantic Coast Conference con­ overall, while Virginia's hopes test between bouts. In a game dimmed even more as the team that featured 54 personal dropped to 11-11 on the season. fouls—33 in the second half- Duke came out flat from the Duke outlasted Virginia for a opening tip, scoring only 10 79-69 victory. points in the first 13:28 of play JOHN BURK/THE CHRONICLE "Everybody was getting and shooting only 30.8 percent 9 banged around a little bit," from the floor in the first half. 'I think I can, I think I can, I think... I'm in trouble sophomore Steve Wojciechows­ Despite a 12-point halftime ki said.
    [Show full text]
  • Camille Billops, Who Filmed Her Mother‑ Daughter Struggle, Dies at 85
    Camille Billops, Who Filmed Her Mother‑ Daughter Struggle, Dies at 85 By Katharine Q. Seelye June 9, 2019 Camille Billops knew from a young age that she did not want to be a mother. And when she had a baby, she gave her up for adoption, when the girl was 4. Ms. Billops would go on to become an internationally recognized sculptor, painter and filmmaker. She held salons and created extensive archives of black cultural life in New York over several decades. But Ms. Billops, who died on June 1 at 85, gained the most attention for a movie she made about giving up her daughter. She was resolutely unapologetic about the decision, even as society judged her harshly and wanted her to repent. The movie, “Finding Christa” (1992), which she directed with her husband, James V. Hatch, documented Ms. Billops’s rejection of her daughter and their reunion 20 years later. Christa Victoria, a vibrant and artistic young woman who was raised by a loving adoptive family in Oakland, Calif., was welcomed back into the Billops fold. The 55‑minute film won the 1992 Grand Jury Prize in the documentary category at the Sundance Film Festival and left the viewer thinking all was well that ended well. But that was not the end. Off camera, the mother and daughter, who shared a diva streak, had a fraught relationship, entangled in guilt and fueled by competitiveness: Ms. Billops told Topic magazine that Christa was trying to take credit for the movie, and at the same, Christa still ached to understand why her mother had given her away.
    [Show full text]
  • James V. Hatch and Camille Billops Papers, 1954-2011
    HATCH, JAMES VERNON, 1928- James V. Hatch and Camille Billops papers, 1954-2011 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Hatch, James Vernon, 1928- Title: James V. Hatch and Camille Billops papers, 1954-2011 Call Number: Manuscript Collection No. 1226 Extent: 15.75 linear feet (30 boxes), 1 oversized papers box and 4 oversized papers folders (OP), AV Masters: 1.5 linear feet (2 boxes), and 1.34 MB born digital material (32 files)(.25 linear feet, 1 box) Abstract: Personal personal of James V. Hatch and Camille Billops and records of their work relating to the curation of the Hatch-Billops Collection and the publication of Artist and Influence. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Please note that some of the items in this collection are copies of materials held in other archival repositories. The Library will not provide researchers with copies of those items. Researchers wishing to obtain copies of these materials should contact the repository that owns the originals. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in This Repository Camille Billops and James V. Hatch Archives at Emory University and Owen Dodson papers Source Gift from Camille Billops and James V.
    [Show full text]
  • We Wanted a Revolution: Black Radical Women, 1965–85 This
    We Wanted a Revolution: Black Radical Women, 1965–85 This exhibition presents the work of more than forty artists and activists who built their careers—and committed themselves to political change—during a time of social tumult in the United States. Beginning in the 1960s, a number of movements to combat social injustice emerged, with the Black Power, Civil Rights, and Women’s Movements chief among them. As active participants in the contemporary art world, the artists in this exhibition created their own radical feminist thinking—working broadly, on multiple fronts—to combat sexism, racism, homophobia, and classism in the art world and within their local communities. As the second-wave Feminist Movement gained strength in the 1970s, women of color found themselves working with, and at times in opposition to, the largely white, middle- class women primarily responsible for establishing the tone, priorities, and methods of the fight for gender equity in the United States. Whether the term feminism was used or not— and in communities of color, it often was not—black women envisioned a revolution against the systems of oppression they faced in the art world and the culture at large. The artists of We Wanted a Revolution employed the emerging methods of conceptual art, performance, film, and video, along with more traditional forms, including printmaking, photography, and painting. Whatever the medium, their innovative artmaking reflected their own aesthetic, cultural, and political priorities. Favoring radical transformation over reformist gestures, these activist artists wanted more than just recognition within the existing professional art world. Instead, their aim was to revolutionize the art world itself, making space for the many and varied communities of people it had largely ignored.
    [Show full text]
  • CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston
    CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER 2 CREATING COMMUNITY. CINQUE GALLERY ARTISTS CREATING COMMUNITY. CINQUE GALLERY ARTISTS Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER MAY 3 — JULY 4, 2021 THE PHYLLIS HARRIMAN MASON GALLERY THE ART STUDENTS LEAGUE OF NEW YORK Cinque Gallery Announcement. Artwork by Malcolm Bailey (1947—2011). Cinque Gallery Inaugural, Solo Exhibition, 1969—70. 3 CREATING COMMUNITY. CINQUE GALLERY ARTISTS A CHRONICLE IN PROGRESS Former “306” colleagues.
    [Show full text]
  • Camille Billops and James V. Hatch Archives at Emory University
    Camille Billops and James V. Hatch archives at Emory University Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Digital Material Available in this Collection Descriptive Summary Title: Camille Billops and James V. Hatch archives at Emory University Call Number: Manuscript Collection No. 927 Extent: 47.25 linear feet (95 boxes), 12 oversized papers boxes and 16 oversized papers folders (OP), 6 extra oversized papers (XOP), AV Masters: 9.25 linear feet (9 boxes and LP1-4), and 10 GB born digital material (231 files) Abstract: The Camille Billops and James Hatch Archives at Emory University consists of a variety of materials relating to African American culture and art. Language: Materials entirely in English. Administrative Information Restrictions on Access Special Restrictions: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library in advance for access to this material. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Please note that some of the items in this collection are copies of materials held in other archival repositories. The Library will not provide researchers with copies of those items. Researchers wishing to obtain copies of these materials should contact the repository that owns the originals. Related Materials in Other Repositories Hatch-Billops Oral History at the City College of New York Emory Libraries provides copies of its finding aids for use only in research and private study.
    [Show full text]
  • Examining the Creative Practices of Kiera Boult, Madelyne Beckles, Kalale Dalton-Lutale and Cason Sharpe
    Chosen Family Values: Examining the Creative Practices of Kiera Boult, Madelyne Beckles, Kalale Dalton-Lutale and Cason Sharpe by Delilah Rosier Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design and New Media Histories Toronto, Ontario, Canada, May 2021. Delilah Rosier, 2021 2 Abstract This major research paper presents an autoethnographic account of the cultural production: performances, plays, video, poetry, short stories, Instagram takeovers and lived experiences of Black biracial Canadian artists Madelyne Beckles, Kalale Dalton-Lutale, Kiera Boult, and Cason Sharpe. Putting these artists in conversation with one another serves to connect and archive a creative community and moment by way of shared identities, and shared stylistic, generational, and critical vocabularies. The thread that runs throughout their works is a critical framework informed by Black thinkers and perspectives encompassing Black art and artists, feminism, queerness, pop culture, class consciousness, and intersectionality stemming from a distinctly Canadian context. As a commemoration of kinship and as a contribution to the current discourse of contemporary Canadian art, this paper makes a case for how their creative practices speak from and about a unique, intersectional perspective and make a significant contribution to the Canadian art landscape. 3 Acknowledgments Thank you to my advisors Johanna Householder and Andrea Fatona for your rigorous edits and thoughtful commentary, Rebecca Diederichs for guiding my writing spiral, Daniel Payne for your incredible bibliographic assistance, OCAD University and the Ontario Graduate Scholarship for financially supporting my studies, Fraser Wrighte for your continual support and Madelyne, Kiera, Kalale and Cason for your participation and trust in me.
    [Show full text]