Since 2020, West has been drawing and posting ink tributes on his social media of African-American people slain by police or targeted by racists, including George Floyd, Breonna Taylor, Ahmaud Arbery, Sandra Bland and Michael Brown, to name a few.
“For many of us Black nerds, Marvel’s characters are particularly relatable. They are often hated and hunted by the powers that be,” West said. “There isn’t a more American form of portraiture than black ‘inks’ over white, to honor those that faced this nation’s fear and loathing of the Black body.”
West has also posted ink tributes to civil rights leaders and protestors like John Lewis and Gloria Richardson Dandridge (seen below).
West, who is also a contributor to GBN (check out his prolific and eclectic Music Monday playlists on this site), recently did a Q&A with us to share more insight into the process and journey that led to his drawings and the upcoming exhibit:
GBN: When you started posting and sharing your drawings on social media, what was the response?
Marlon West: The response was very positive. They were met with surprise from many, as I had limited myself to drawing only effects and instructional drawovers for decades. It took being on lockdown, away from some of the best artists on the planet, and feeling the despair that so many of us did around George Floyd’s murder to move to draw what I initially thought would be four drawings. I’ve done more than 40.
Marlon West (photo courtesy Marlon West)
When you decided who you were going to draw, how did you decide what image of them to use?
Almost all of them are based on photos that have been widely seen. Many are in fact selfies taken by the subjects themselves. It felt very intimate to draw them, staring into their eyes while I did so. It was often tear inducing to do so for the hours it took to do each one. But I found it cathartic to sit alone and try to honor each one.
Did you ever receive any feedback from any family or loved ones of your subjects?
A good friend knows Michael Brown Sr. I created, until this exhibit, the only physical copy of any of them to give to him. He was thankful, but understandably guarded.
How did the museum display of your work come about?
My friend and colleague reached out to the museum regarding them. They were very receptive to the idea. I am super flattered and honored. They are also leaning into presenting them in the comic style nature that I drew them.
[Photo: Derrick Adams; Photographer: Mark Poucher]
According to news.artnet.com, Brooklyn-based, Baltimore-born artist Derrick Adams will receive $1.25 million from the Andrew W. Mellon Foundation to build the Black Baltimore Digital Database, a new archive cataloguing important cultural contributions by Black Baltimoreans.
The archive will catalogue local achievements in art, entrepreneurship, and other areas and will be developed over the next three years, with the Mellon Foundation supporting two years of organizational capacity.
“The Black American experience has strong roots in Baltimore—I am both honored and eager to share this project with the city,” Adams said in a statement. “It will live as a modernized historical society, whose dedication is equally important and inclusive.”
With the funding, the database will set up shop in a new building in the city’s historic Waverly neighborhood. It will feature a gallery (named after the late Baltimore photographer I. Henry Phillips, Sr.,), a digital archive lab, and a screening room, as well as a cafe and gift shop that will spotlight local Black-owned businesses.
The Baltimore Museum of Art and the Johns Hopkins campus are in close proximity to the future site of the database. It is also near Last Resort Artist Retreat, a residency program for Black creatives that was also founded by Adams.
The two upstart initiatives will work together closely and collaborate on programming. Charm City Cultural Cultival, a local non-profit supporting cultural projects in Baltimore’s inner city, will also contribute to programming efforts.
“Our goal,” Adams explained, “is to provide a distinct entry point for a wider network of initiatives. This will not only support our archival endeavors, but also local community building—social engagement through events, workshops, and conversation.
Today’s GBN Daily Drop podcast is about Misty Copeland, the first African American principal dancer in the elite American Ballet Theatre‘s 75-year history, based on the Tuesday, March 15 entry in the “A Year of Good Black News” Page-A-Day®️ Calendar for 2022:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website (transcript below):
SHOW TRANSCRIPT:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Tuesday, March 15th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Misty Copeland changed the face of ballet… with her feet. Raised in San Pedro, California, Copeland began taking ballet lessons at her local Boys & Girls Club at the “late” age of thirteen. By fifteen she was dancing professionally.
Misty joined American Ballet Theatre in April 2001 and made history in 2014 as the first Black woman to perform the lead role of Odette/Odile in ABT’s Swan Lake. In June 2015, Misty was promoted to principal dancer, the first African American woman to hold the position in the company’s 75-year history.To learn more about Misty Copeland, check out her 2014 New York Times best-selling memoirLife in Motion: An Unlikely Ballerina, 2017’sBallerina Body: Dancing and Eating Your Way to a Leaner, Stronger, and More Graceful You, and 2021’s Black Ballerinas: My Journey to Our Legacy, an illustrated nonfiction collection in which Copeland celebrates dancers of color who came before her, the odds they faced, and how they have influenced her on and off the stage.
Links to these and other sources are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing, Intro and outro beats provided by freebeats.io and produced by White Hot.
Music from Swan Lake composed by Tchaikovsky was used in today’s episode under Public Domain license.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website (transcript below):
SHOW TRANSCRIPT:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Saturday, March 5th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
It’s a quote from contemporary artist and member of the Black Arts MovementBetye Saar, best known for her assemblage style and her 1972 work titled The Liberation of Aunt Jemima. Here’s the quote:
“It is my goal as an artist to create works that expose injustice and reveal beauty. The rainbow is literally a spectrum of color while spiritually a symbol of hope and promise.”
Beats provided by freebeats.io and produced by White Hot.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. You can give a positive rating or review, share your favorite episodes on social media, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Today’s GBN Daily Drop podcastis based on the Wednesday, February 23 entry in the “A Year of Good Black News” Page-A-Day®️ Calendar for 2022 and offers a quote from renowned Harlem Renaissance artist and arts educator Aaron Douglas:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website (transcript below):
FULL TRANSCRIPT:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Wednesday, February 23rd, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing. Today we offer a quote from Kansas-born artist and arts educator Aaron Douglas:
“Labor has been one of the most important aspects of our development . . . It is a thing that we should be proud of, because we have that part of our life that has gone into the building of America. Not only of ourselves, but in the building of American life.”
Douglas created a style that soon became the visual signature of the Harlem Renaissance and earned him the moniker “The Father of African American Art.”
Aspects of Negro Life: Song of the Towers by Aaron Douglas, 1934 (courtesy nypl.org)
Douglas went on to paint several public murals including the Aspects of Negro Life mural series at the Countee Cullen branch of the New York Public Library, which is still there today.
Douglas influenced artists such as Jacob Lawrence and Romare Bearden, and he schooled countless others while serving as chair of the art department and HBCU Fisk University for over 25 years.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing, and available at workman.com, Amazon,Bookshop and other online retailers.
Beats provided by freebeats.io and produced by White Hot.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Today’s GBN Daily Drop Podcastis a bonus episode for Sunday, February 20, 2022 based on the “A Year of Good Black News” Page-A-Day®️ Calendar for 2022 format. It’s about Raven Wilkinson, who, when she joined the Ballet Russe de Monte Carlo, became the first African American ballerina to dance with a major company in the U.S:
You can also follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website (transcript below):
FULL TRANSCRIPT:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a bonus daily drop of Good Black News for Sunday, February 20th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Born in 1935, New York native Raven Wilkinson attended her first ballet when she was five years old, a performance of Coppélia, danced by the esteemed Ballet Russe de Monte Carlo. From that moment on, Wilkinson wanted to be a ballerina. Fortunately, her parents were able to find her a teacher, and Wilkinson trained with Russian instructor Maria Swoboda, who was a former member of the Bolshoi Ballet.
Wilkinson eventually got the opportunity to audition for Ballet Russe, the same high-profile company which inspired her to dance. Ballet Russe was reluctant to hire Wilkinson, however, for fear of backlash when performing in the South.
Wilkinson nevertheless persisted, and by her fourth audition, Ballet Russe could no longer deny her talent and hired her, making Wilkinson the first African American woman to dance with a major ballet company in the U.S.
Her appearances in the South though, they did incur hostility and threats. Wilkinson was encouraged to wear pale makeup while dancing to “pass,” but she always refused to hide her race. The racism she did encounter did take its toll however, and Wilkinson stopped touring in the South and eventually everywhere.
A few years later in 1967, encouraged by Sylvester Campbell, another African-American dancer, Wilkinson auditioned with the Dutch National Ballet, got in, and stayed with the Netherlands-based troupe for seven years. Wilkinson then returned to New York and at nearly 40 joined the New York City Opera, serving first as a member of its ballet ensemble and then in other roles until she retired from performing altogether.
A mentor and friend to Misty Copeland, in 2015 Wilkinson attended Copeland’s debut in the lead role of Swan Lake, as she became the first African American principal dancer at an elite company, the American Ballet Theater in New York.
Wilkinson brought Copeland flowers onstage, and in 2019, Copeland paid tribute to Wilkinson in a video produced by The Root:
“Every black person that’s accomplished something incredible has had to endure some really awful things. I think that Raven is a very special case. Because I think that she was so good at making the worst situations into a learning experience or something that she made into a good situation. It’s amazing that we found each other and, and that it kind of just came full circle, you know, for her to be able to witness my promotion to principal dancer, to be able to have her come on to the stage during my curtain calls of my New York debut of Swan Lake was, was really overwhelming.
She told me she didn’t think she’d ever see a Black woman become a principal dancer in an elite company. To have her walk into events and walk into the ballet and for people to like, recognize her, and, and give her the due credit that she deserved all of these years. I think, again, it’s just kind of part of what I think my purpose was to be here. To tell the stories of all of these Black ballerinas, especially Raven’s. There’s just no real record of our existence through history. And the more stories we tell of Black dancers, the more that we can make it our history and make ballet our own.”
To learn even more about Raven Wilkinson, check out the 2016 documentaryBlack Ballerina in which Wilkinson is featured, Stillness Broken, the Columbia University School of Journalism student film about Wilkinson, the 2018 picture book based on her life titled Trailblazer: The Story of Ballerina Raven Wilkinson that includes a forward by Copeland, as well as several other sources provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.
This has been a bonus daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing, and available at workman.com,Amazon, Bookshop and other online retailers.
Beats provided by freebeats.io and produced by White Hot. Additional songs permitted under Public Domain license included were “The Festival Dance” from Coppelia composed by Delibes, and “Dance of the Sugar Plum Fairy” from The Nutcracker composed by Tchaikovsky.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
NEW YORK, NY— The International Center of Photography (ICP) presents a powerful exhibition focusing on the work of five emerging Black artists who have turned the lens inward to explore and capture the “unseen” moments of their lives during a time of unprecedented change.
INWARD: Reflections on Interiority features newly commissioned photographs by Djeneba Aduayom, Arielle Bobb-Willis, Quil Lemons, Brad Ogbonna, and Isaac West.
On view through January 10, 2022, INWARD is curated by Isolde Brielmaier, Ph.D., ICP’s curator-at-large, and newly-appointed Deputy Director for the New Museum.
Although a number of these photographers have worked on assignment for major publications such as the New York Times, Vogue, Vanity Fair and Time, the exhibition offers a rare opportunity to see their artistic and personal work in their first museum exhibition.
The photographers showcased in INWARD use a range of manual and digital image-making tools in their individual practices—for this exhibition, they have created the photographs using iPhone.
The resulting images move beyond the endless scope of the constructed selfie to examine the intimate interactions and inner thoughts that make up their daily experiences as artists in a time of Covid-19, Black Lives Matter, and the 2020 U.S. election.
Artists Djeneba Aduayom, Brad Ogbonna, Isaac West, Arielle Bobb-Willis, and Quil Lemons, with curator Isolde Brielmaier, at the opening of “INWARD: Reflections on Interiority” at the International Center of Photography.
“The five artists featured in INWARD provide a thought-provoking window into their interior lives,” said curator Isolde Brielmaier. “The revealing new photographs explore intimate thoughts and personal relationships with great honesty, as the artists delve deep into the new reality and challenges of our contemporary lives at a time of global introspection.”
Exhibition Overview
Smartphones have often been used to generate images of public space and events in the broader outside world. iPhone has democratized image-making, and more recently, has been widely utilized as an impactful outward-facing tool to capture the human side of this particular moment of upheaval and turmoil. In INWARD, the artists reverse the focus to document their inner lives, and in the process show the full potential of iPhone in a fine art setting.
Revealing deep self-reflection, the work of Djeneba Aduayom explores her inner thoughts and subjectivity. As an introvert, she was at ease at home, sitting still, and being quiet in the company of herself during the pandemic. This quiet confidence can be seen in her self-portraits, in which she poses for the camera and directly gazes at the viewer. These images are punctuated by smaller, more abstract “studies” of objects and the human form of the artist’s own body.
Much of Arielle Bobb-Willis’s work is born out of her experience battling depression from an early age. She manipulates color, shape, form, and light, giving way to abstract images that reference ideas of the beautiful, the strange, isolation, and belonging. Influenced by painting, her use of bright colors speaks to the artist’s desire to claim power and joy in the face of confusion, sadness, and uncertainty.
Quil Lemons presents self-portraits from his series entitled Daydreams, 2021, which document his very personal journey, a process of self-exploration and self-validation: “As a Black queer man, there is no space for me, so I constantly carve one,” he states. He confidently defines his racial and gender identity in ways that allow for the intertwined, co-existence of both. His work visually articulates both self-assurance and the ongoing vulnerability with which he contends.
The work of Brad Ogbonna is comprised of a broad series of portraits of family, friends, and himself. In the style of some of the most important historical West African portrait photographers, such as Malick Sidibé, Meissa Gaye, Seydou Keïta and others, he has created, in collaboration with his friends and family members, a series of intimate portraits that underscore family history and relationships with a strong reference to the artist’s Nigerian culture as well as his late father. “I didn’t think much about the past until my Dad died,” said Ogbonna. “Shortly thereafter I inherited his first photo album filled with photos from his youth spent in Nigeria. At the time those images felt like a portal to the not-so-distant past and left me with many more questions than answers. I was enthralled by the mystery of it all.”
Isaac West is inspired by his girlfriend Naima in his series entitled Love, 2021. He focuses on the small ways in which human interactions, gestures, and expressions both encapsulate and demonstrate larger ideas about love, intimacy, and care. Through his strikingly bold colors and stark lines and use of light, as well as the strong articulation and centering of Blackness, he highlights everyday acts of kindness—grooming, eating, playing—in order to underscore these
About the Artists Djeneba Aduayom, @djeneba.aduayom
Informed by her career as a professional dancer, Djeneba Aduayom progressed into photography and brought her love of travel, movement and emotive performance into her imagery and subsequent directing work. Drawing inspiration from her cultural mix of French, Italian and African heritage, her concepts and artistic expression are rooted in her personal exploration of the inner worlds of her imagination. In 2020, Aduayom received The One Club for Creativity One Show gold award for her conceptual fashion series “A Pas de Deux” in collaboration with New York magazine’s The Cut. Her portraits for The New York Times Magazine’s “The 1619 Project” were honored by the International Center of Photography’s 2020 Infinity Awards in the Online Platform and New Media category. The American Society of Magazine Editors’ 2020 Awards also selected Aduayom’s Billboard portrait of St. Vincent as “Best Profile Photograph.” Aduayom is now based just outside of Los Angeles, CA.
Arielle Bobb-Willis, @ariellebobbwillis
Born and raised in New York City, with pit stops in South Carolina and New Orleans, photographer Arielle Bobb-Willis has been using the camera for nearly a decade as a tool of empowerment. Battling depression from an early age, Bobb-Willis found solace behind the lens and has developed a visual language that speaks to the complexities of life: the beautiful, the strange, belonging, isolation, and connection. Inspired by masters like Jacob Lawrence and Benny Andrews, Bobb-Willis applies a “painterly” touch to her photography by documenting people in compromising and disjointed positions as way to highlight these complexities. Her photographs are all captured in urban and rural cities, from the South to North, East to West. Bobb-Willis travels throughout the U.S. as a way of finding “home” in any grassy knoll, or city sidewalk, reminding us to stay connected and grounded during life’s transitional moments.
Quil Lemons, @quillemons
Quil Lemons is a New York-based photographer with a distinct visual language that interrogates ideas around masculinity, family, queerness, race, beauty, and popular culture. His inaugural series GLITTERBOY (2017) introduced Lemons to the world and started a dialogue that would act as a common thread through much of his work to come. In it, he dusted black men with glitter to combat the stereotypes and stigmas placed upon their bodies. This concept of challenging what is acceptable for the black male body developed even further in BOY PARTS (2020). Simultaneously, Lemons began an exploration of the black family portrait with his series PURPLE (2018) and project WELCOME HOME (2018). Images from both projects gave an intimate glimpse into his home life and the modern black American family structure in Philadelphia. Lemons has previously exhibited at Contact Festival, Toronto, 2018; Kuumba Festival, Toronto, 2019; and Aperture, NY 2019. His work has appeared on the cover of Vanity Fair, and publications including Variety, Vogue, and the New York Times.
Brad Ogbonna, @bradogbonna
Brad Ogbonna was born and raised in Saint Paul, MN, and currently lives and works in Brooklyn, NY. A first generation Nigerian-American and a self-taught photographer, his work focuses on the black experience: his own, as well as the many different iterations he has seen while traveling domestically and abroad as a member of the diaspora. His work has appeared in publications such as The New York Times, The Atlantic, Forbes, Bloomberg BusinessWeek, and New York magazine, and he frequently collaborates with the artist Kehinde Wiley. In 2019, Ogbonna’s work was featured at the Walker Art Center in Minneapolis.
Isaac West, @isaacwest
Isaac West is a Liberian-born, U.S.-based photographer, artist, and creative director who specializes in conceptual art and minimalism. West’s luminous portraits evoke a contemporary regality. In 2018, West photographed two issues for Paper magazine, “Higher Ground” (web issue) and “West’s World” (spring print issue). In 2019, West photographed the actress Zendaya for the cover of the Summer print “Extreme” issue of Paper, and West was also named one of Paper magazine’s “100 People Taking Over 2019.” West photographed Parker Kit Hill for the spring 2019 print issue cover of Funk Magazine, a magazine dedicated to the LGBT community. Vogue Italia featured West’s third-biggest photography project called “8Minutes & 46Seconds” as a full spread in their 2020 summer print issue. West’s work was featured in the Aperture Foundation’s 2020 exhibition The New Black Vanguard in New York, NY, which then traveled to Australia and Qatar in 2021.
Ticket information: Admission to ICP is by timed ticketed entry only to ensure limited capacity and other safety standards are met. Tickets can be reserved online at icp.org/tickets. updated Visitor Information and Accessibility guidelines and policies.
Dr. Maria Rosario Jackson was confirmed by the U.S Senate on Saturday as Chair of the National Endowment for the Arts. Jackson is the first African American and Mexican American to lead the organization.
Jackson, 56, earned a doctorate in urban planning from the University of California at Los Angeles, and she’s a professor at Arizona State University and a sought-after speaker on how to embed arts, culture and design into community life. Jackson previously worked at the Urban Institute, a think tank in Washington.
President Biden made the historic nomination in October, during National Arts and Humanities Month. At the same time, he nominated Shelly Lowe to be the first Native American to lead the National Endowment for the Humanities. Lowe’s nomination has not been confirmed.
In a statement released by the NEA, Jackson thanked President Biden for the opportunity and said she plans to lead the institution with “dedication to inclusivity, collaboration, and with the recognition that art, culture, and creativity are core to us reaching our full potential as a nation.”
“The NEA plays a crucial role in helping to provide funds and other resources needed for the sector to recover, retool, and reopen,” Jackson also stated. “The agency also has the opportunity and responsibility to deepen and expand its already purposeful efforts to reach communities who have been traditionally underserved.”
Washington National Cathedral recently announced it will replace its stained-glass windows that formerly featured Confederate iconography (removedin 2017) with racial-justice themed windows created by world-renowned artist Kerry James Marshall.
The Cathedral’s commission represents Marshall’s first time working with stained-glass as a medium, and the windows are expected to be his first permanent public exhibition anywhere in the country.
In addition, celebrated poet, author, and scholar Dr. Elizabeth Alexanderhas agreed to create a new poem that will be inscribed in stone tablets alongside Marshall’s window installation, overlaying the previous stone tablets which venerated the lives of Confederate soldiers.
Completion of both Marshall’s new windows and the stone tablets featuring Dr. Alexander’s new poem is expected in 2023, at which time they will be permanently installed at the Cathedral.
Dr. Elizabeth Alexander (photo via elizabethalexander.net)
The Cathedral removed windows featuring Confederate Generals Robert E. Lee and Thomas “Stonewall” Jackson – which were located along the southern face of its nave, or its main worship space – in September 2017, following the white nationalist violence in Charlottesville, Virginia.
In the summer of 2020, amid the historic movement for racial justice following the police killing of George Floyd, the Cathedral began collaborating with the Smithsonian’s National Museum of African American History and Culture (NMAAHC) to plan the public exhibition of the Robert E. Lee window.
“For nearly 70 years, these windows and their Confederate imagery told an incomplete story; they celebrated two generals, but they did nothing to address the reality and painful legacy of America’s original sin of slavery and racism. They represented a false narrative of what America once was and left out the painful truth of our history,” saidThe Very Rev. Randolph Marshall Hollerith, dean of Washington National Cathedral.
“We’re excited to share a new and more complete story, to tell the truth about our past and to lift up who we aspire to be as a nation.”
Marshall—the artist and professor whose paintings depicting Black life in America have been sold, viewed, and showcased across the world for decades—will design the stained-glass windows that will replace the Lee/Jackson windows.
SHEBOYGAN, WI —An exhibition of ceramics by the artist Woody De Othello will be on view at the John Michael Kohler Arts Center from September 26, 2021 through September 25, 2022.
Woody De Othello: Hope Omenspresents a series of nearly 20 large anthropomorphic vessels based on African spiritual objects that, among other things, address the tumultuous nature of the last year.
Woody De Othello is best known for his large-scale sculptures of familiar domestic objects, which are often imbued with a kind of human personage. For Hope Omens, he presents an entirely new body of work.
Woody De Othello, Closed Reflection, 2021; ceramic and glaze. Courtesy of the artist and Jessica Silverman, San Francisco. (Photo: John Wilson White)
Many of the sculptures were produced using molds that Othello created during his Arts/Industry Pottery residency at the Kohler Co. factory in early 2020. While he was in residence, the world outside the factory began to shift with the beginning of the pandemic. The residency was cut short by several weeks and forced Othello to bring home some of the molds to continue his work.
“Woody De Othello’s work has always been prescient in its combination of humor, history, and composition. But the saliency of this newest body of work speaks poignantly and pointedly about the time we are living in, reaffirming the role that artists can play in articulating a kinder and more just world for us all. The Arts Center is thrilled to be showing these works for the first time,” said Laura Bickford, curator, John Michael Kohler Arts Center.
Woody De Othello. (Photo: Josh Gruetzmacher)
Othello draws on African nkisi, or objects that are believed to be invested with spiritual energy. Breath and breathing are ideas often expressed in Othello’s vessel-like forms covered in mouths. Many of his new works feature hands and arms, evoking embrace and consolation, or ears and mouths, offering meditations on listening, hearing, and being present.
West, who is also a contributor to GBN (check out his prolific and eclectic Music Monday playlists on this site), recently did a Q&A with us to share more insight into the process and journey that led to his drawings and the upcoming exhibit:
To learn more about Misty Copeland, check out her 2014 New York Times best-selling memoir 
Links to all of these sources and more are provided in today’s show notes and in the episode’s full transcript posted on 
