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Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
March-April 1996 CAA News
5 the mall corridors between the Hynes Techno King Convention Center and the hotel com plexes. Certainly the CAA has, by the sheer logistics of location, established a Seduction Hammond: new relationship between scholarship, professionalism, and fitness. CAA is most appreciative of the outstanding hospital President ity offered by the Boston hotels and the Hynes Convention Center. In all, 4,500 people registered for the conference, and n response to the membership another 1,200 purchased session tickets. survey in which members expressed I would like to thank CAA confer a desire for more visual art at the hat a great pleasure it was ence coordinator Suzanne Schanzer and I to be in Boston and see so annual conference, the Visual Artists CAA deputy director Jeffrey Larris for many old friends and Committee of the CAA Board of W their unstinting support and attention to colleagues. It was even more exciting to Directors announces the exhibition detail in Boston. A special congratulations meet the rapidly growing numbers of theme for the 85th Annual Conference is in order for CAA executive director new members and make new acquain in New York in 1997. Techno-Seduction is Susan Ball, who celebrated her ten-year tances with long-standing members a national juded exhibition open to all anniversary with CAA in Boston (see from institutions all over the U.s. and CAA members, sponsored by the Visual "Board Honors Ball," page 9). Also, I abroad. More interesting, however, are Artists Committee and the Cooper extend hearty thanks to membership the swelling numbers of unaffiliated 5 Union for the Advancement of Science manager Theresa Smythe and her entire members I met who function as and Art. -
COKER, GYLBERT. Gylbert Coker Papers, 1968-2002
COKER, GYLBERT. Gylbert Coker papers, 1968-2002 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Coker, Gylbert. Title: Gylbert Coker papers, 1968-2002 Call Number: Manuscript Collection No. 1042 Extent: 9.75 linear ft. (11 boxes) and 33.8 MB born digital material (265 files) Abstract: Papers of African American academic Gylbert Coker including curatorial work, research materials, correspondence, printed material, and project documents. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Use copies have not been made for all of the audiovisual material at this time. Researchers must contact the Rose Library in advance for access to these materials. 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. Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Gift, 2006. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Gylbert Coker papers, 1968-2002 Manuscript Collection No. -
Guide to the Papers of African American Artists and Related
Guide to the Papers of January 2020 African American Artists and Related Resources 2 What We do Above: Titus Kaphar in his 11th Avenue Studio, New York City, 2008. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. Cover: Chakaia Booker installing Foci (2010) at Storm King Art Center, Mountainville, New York, 2010. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. 3 TABLE OF CONTENTS 05 Our History 06 What We Do 10 A Culture of Access 11 Archives in the World 12 Why the Archives of American Art? 15 Recent Acquisition Highlights 17 Guide to African American Collections 48 Additional Papers of African American Artists 56 Oral History Interviews 60 Related Resources 72 Administration and Staf 4 HISTORY AND ABOUT The Smithsonian’s Archives of American Art enlivens the extraordinary human stories behind the United States’ most signifcant art and artists. It is the world’s preeminent resource dedicated to collecting and preserving the papers and primary records of the visual arts in the United States. Constantly growing in range and depth, and ever increasing in its accessibility, it is a vibrant, unparalleled, and essential resource for the appreciation, enjoyment, and understanding of art in America. 5 Our History In a 1954 letter from then director of the Detroit Institute of Arts Edgar P. Richardson to Lawrence A. Fleischman, Richardson poses a question: “Do you realize what a big thing you have done in starting the Archives [of American Art]? I know you do. But do you? It is enormous in its implications; enormous!” Richardson and Fleischman, a Detroit businessman and an active young collector, had founded the Archives earlier that year. -
Black Portraitures V: Memory and the Archive Past. Present. Future
V Memory and the Archive Past. Present. Future. TERRY BODDIE,PRISON INDUSTRIAL, 2018 October 17–19, 2019 2 V Memory and the Archive Past. Present. Future. Table of Contents Welcome ..............................................................................................................................................................................................................4 Schedule Grid / Thursday, October 17, 2019...........................................................................................................................................8 Schedule Grid / Friday, October 18, 2019.................................................................................................................................................9 Schedule Grid / Saturday, October 19, 2019.........................................................................................................................................10 Day at a glance / Thursday, October 17, 2019.....................................................................................................................................11 Day at a glance / Friday, October 18, 2019 ...........................................................................................................................................13 Day at a glance / Saturday, October 19, 2019......................................................................................................................................15 Schedule/Abstracts........................................................................................................................................................................................16 -
Electonic Press
DAVID MAGDAEL & ASSOCIATES, INC. THROUGH A LENS DARKLY: BLACK PHOTOGRAPHERS AND THE EMERGENCE OF A PEOPLE A documentary directed by Thomas Allen Harris World Premiere | 2014 Sundance | New Frontiers Friday, January 17, 9:00pm - Yarrow, Park City ** world premiere ** Saturday, January 18, 12:45pm - Broadway 3, Salt Lake City Sunday, January 19, 4:30pm - Redstone 7, Park City Saturday, January 25, 5:30pm - Holiday 1, Park City SALES CONTACT: PRESS CONTACT: BGP DAVID MAGDAEL & ASSOCIATES 646-599-3454 213-624-7827 Bill Strauss David Magdael [email protected] [email protected] Eseel Borlasa [email protected] Vince Johnson [email protected] 1 SYNOPSIS “History is the nightmare from which I am trying to awake.” – James Joyce, Finnegan’s Wake THROUGH A LENS DARKLY: BLACK PHOTOGRAPHERS AND THE EMERGENCE OF A PEOPLE is about contemporary artists probing the recesses of the American dream by interrogating images of stories suppressed, forgotten and lost. This is the first documentary to explore the role of photography in shaping the identity, aspirations and social emergence of African Americans from slavery to the present. The film brings to light previously hidden and largely unknown images by both professional and vernacular African American photographers which add to our understanding of history by providing a window into lives, experiences and perspectives of Black families that is absent from the traditional historical canon. These images show a much more complex and nuanced view of American culture and society and its founding ideals. The film draws inspiration from the work of Marlon Riggs, particularly his ground- breaking Tongues Untied, in its assembly of a diverse yet focused community of storytellers to follow and transform a singular journey into a communal journey of discovery and a call to action. -
Program Booklet: 28Th Annual James Porter Colloquium Department of Art
Howard University Digital Howard @ Howard University 28th Annual James Porter Colloquium The aJ mes Porter Colloquium 4-2017 Program Booklet: 28th Annual James Porter Colloquium Department of Art Follow this and additional works at: https://dh.howard.edu/portercolloquium_28 Part of the Contemporary Art Commons, Fine Arts Commons, and the Modern Art and Architecture Commons JAMES A PORTER COL LOQU I UM ON AFRICAN AMERICAN ART APRIL 5 - 9,2017 A pioneer in establishing the field of African American art history, James A. Porter was instrumental as the first scholar to provide a systematic, critical analysis of African American artists and their works of art. An artist himself, he provided a unique and critical approach to the analysis of the work. Dedicated to educating and writing about African American artists, Porter set the foundation for artists and art historians to probe and unearth the necessary skills essential to their artistic and scholarly endeavors. The canon is born from Porter's determination to document and view African American art in the context of American art. Born December 22,1905 in Baltimore, Maryland, Porter had a long, illustrious career in the visual arts, as an artist and historian. Under the direction and encouragement from Jam es V. Herring, head of the Art Department at Howard University, Porter studied painting, drawing, and art history. Upon graduating with a bachelor of science in 1927, he accepted a position as instructor of painting and drawing at Howard. Being an educator did not keep Porter from honing his artistic skill and creating art. Throughout his academ ic professional career, Porter painted and exhibited nationally and internationally. -
The Studio Museum in Harlem Magazine Spring/Summer 2018 Spring/Summer 2018 Studio Magazine Board of Trustees Contributors Editor in Chief Raymond J
The Studio Museum in Harlem Magazine in Harlem The Studio Museum The Studio Museum in Harlem 144 West 125th Street New York, NY 10027 The Studio Museum in Harlem Magazine Spring/Summer 2018 Spring/Summer 2018 Spring/Summer Studio magazine Board of Trustees Contributors Editor in Chief Raymond J. McGuire, Chairman Desiree C. Bailey Elizabeth Karp-Evans Carol Sutton Lewis, Vice-Chair Poet, writer, and educator; her work has Rodney M. Miller, Sr., Treasurer appeared in Best America Poetry 2015, Creative Director Jacqueline L. Bradley, Secretary Callaloo, and The Rumpus Thelma Golden Joshua Bell Laura Day Baker Major Gifts O icer Contributing Editor Dr. Anita Blanchard Elizabeth Gwinn Kathryn C. Chenault Eric Booker Joan S. Davidson Exhibition Coordinator Editorial Assistant Gordon J. Davis, Esq. Charmaine Marie Branch Symphonie Swift Damien R. Dwin Curatorial Fellow Dr. Henry Louis Gates, Jr. Copy Editor Sandra Grymes Angelica Calderon Samir S. Patel Arthur J. Humphrey Jr. Artist George L. Knox Zainab Floyd Design Nancy L. Lane Artist OCD Dr. Michael L. Lomax Bernard I. Lumpkin Nelson George Printing Dr. Amelia Ogunlesi Author, cultural critic, and ilmmaker Allied Printing Services Holly Peterson Jennifer Harley Ann G. Tenenbaum School and Educator Studio is published two times a year Reginald Van Lee Programs Coordinator by The Studio Museum in Harlem, Chloe Hayward 144 W. 125th St., New York, NY 10027 Ex-O icio Family Programs Coordinator Hon. Bill de Blasio, Mayor of New York City Copyright © 2018 Studio magazine Roxanne John, Mayoral Designee Chanice Hughes-Greenberg Hon. Tom Finkelpearl, Commissioner Poet, her work has appeared in Art All rights, including translation into other of the Department of Cultural A airs Observed, Packet Biweekly, Horse Less languages, are reserved by the publisher.