What do you do with a pair of old flip-flops? Not an idle question as the planet produces billions of pairs of non-biodegradable pairs every year. But now a Kenyan biologist turned businesswoman has at least a partial solution. Julie Church‘s artisan manufacturing company, Ocean Sole, turned about 50 tons of dirty, discarded and damaged flip-flops into animal ornaments and jewellery in 2013. She anticipates doubling that amount this year, and will pay 25p per kilo to whoever brings them in.
In Kenya, where plastic flip-flops cost a dollar, beaches are littered not just with broken and battered domestic varieties but with flip-flops from all over the world. Branded flip-flops turn up on Kenya’s east-facing shoreline from the Middle East, South Asia and Australasia. Ocean Sole is Church’s private sector attempt to educate consumers and producers alike. Sales have tripled in the last year and it is reaching a global market supplying some of the world’s most famous zoos and aquariums. “Their shops are usually full of stuff that is so bad for the environment,” Church says. See Picture Gallery of More Flip Flop Art
The UN estimates that every square mile of ocean hosts nearly 50,000 pieces of plastic. “When someone says they’re throwing something away, where is away?” Church says. When plastic is concerned, “away” often equates to ending up in one of the worlds rivers or oceans. Kenyan paleontologist Louise Leakey once warned that the legacy of our era on earth would be a layer of subcutaneous plastic.
Art from the Keir Collection: “Three Doctors in Discussion,” a 13th-century miniature from a translation of Dioscorides’s “De Materia Medica.” The Keir Collection of Islamic Art via Dallas Museum of Art
While Texas may have the fifth largest Muslim population in the United States by some estimates, its public art collections have only recently begun to reflect the 14-century sweep of Islamic history. But on Friday, with the stroke of a pen — sealing a complex agreement hashed out over months — the Dallas Museum of Art will become the long-term custodian of one of the most important collections of Islamic art in private hands.
The Keir Collection, amassed over decades in Britain by Edmund de Unger, a Hungarian real-estate magnate who died in 2011, will go to Dallas for at least 15 years beginning in May, under an unusual long-term renewable loan that will give the museum the right to lend pieces to other institutions and to make objects widely available to scholars. The agreement will instantly give Dallas, which now has only a few dozen Islamic pieces, perhaps the third most important Islamic collection in the country, after the Metropolitan Museum of Art in New York and the Smithsonian’s Freer and Sackler Galleries in Washington.
A 10th-century rock crystal ewer from Egypt. The Keir Collection of Islamic Art via Dallas Museum of Art
With the 2011 expansion of the Islamic galleries at the Met and long-term loans and acquisitions of significant works by institutions like the Museum of Fine Arts, Houston, and the Cleveland Museum of Art, the profile of Islamic art in the United States is rising, as threats to major collections and historic sites in parts of the Middle East come with ever greater frequency. On Jan. 24, the Museum of Islamic Art in Cairo, one of the most important in the world, was badly damaged by a truck bomb, which destroyed more than 70 artifacts.
The Keir Collection — named for a house near London where the collector once lived — had been assumed for several years to be headed to the Museum of Islamic Art in Berlin, where Mr. de Unger had lent some works before his death. But Sabiha Al Khemir, a highly regarded scholar of Islamic art who was recruited to advise the Dallas museum in 2012, helped persuade the de Unger estate, controlled by the collector’s two sons, that the collection would be better served in Texas, where the museum would be able to make room to keep a few hundred works on view at a time. “They were looking for really a larger commitment for the whole collection and we could give them that,” said Maxwell L. Anderson, director of the Dallas Museum of Art.
Breakfast at Onomo’s, 2013. Photograph: Antoine Tempé
Back in the 80s, my classmates and I piled into Mbabane’s local cinema to watch Top Gun. We’d turn to each other, channeling our best version of Val Kilmer to spout “You can be my wing man anytime” – followed by intense laughter. Who doesn’t have a favourite line, an iconic moment from film lodged in our minds?
Dakar-based photographers Omar Victor Diop and Antoine Tempé were counting on just that, the shared experience and ubiquity of film, when the hotel group Onomo International invited them to create a series of photographs using the hotel as a backdrop. They turned to the silver screen, to iconic moments they’ve held onto to and mined for their collaborative project, ONOMOllywood.
In 20 images that pay homage to characters such as Truman Capote’s Holly Golightly in Breakfast at Tiffany’s, these reinventions begin with the a humble “what if…” A question looking to how popular global cultural translates to the local, what could it look like, and what new memories would it create. The project has created conversation, accolades and blowback, but in an interview with Another Africa, Diop takes it all in stride. American Beauty, 2013. Photograph: Omar Victor Diop
Missla Libsekal | Representational art usually puts artists in the hot seat, audiences tend to have strong opinions. For example Samuel Fosso’s self-portraits as famous political figures or Pieter Hugo’s Nollywood series. Mimicry steps on the nerve of nostalgia, the sacred or even challenges the status quo. What tale doesONOMOllywood tell and does it hit any nerves? Omar Victor Diop |ONOMOllywood is a celebration of cinema, as an artistic discipline and of the magic of a great movie. For Antoine Tempé (the co-author of the series who created 10 out of the 20 images) and myself, what makes a great movie is the fact that the strength of its characters, plot and scenes transcends all geographic, temporal and racial barriers. A great movie is more than a series of sequences, it becomes a moment that is lived across the globe by people who have very little in common, but who relate to extraordinary stories that allow them to dream.
The example I always give is the magic of a James Bond movie; back when I was a kid, I didn’t care whether Roger Moore was white or black, or whether I was a British citizen… to me, he was a hero I could impersonate. After watching A View To A Kill, I firmly believed my pajamas were a tuxedo and that my mom’s kitchen was actually some concrete jungle where I would chase after criminals… That’s what cinema has brought to me and it still somehow does, to my adult life. A great movie is a dream. Psycho, 2013. Photograph: Antoine Tempé
ONOMOllywood did hit some nerves, especially in the US: after one of my interviews was published on CNN.COM. We were taken aback by the racial dimension of some readers’ comment. To my great surprise, I realised that this series could be seen by some as a sort of “revenge” of black people against a too “white” Hollywood. The “race war” in the comments section was quite epic!
It was rather amusing to see the way some readers resolutely eluded the fact that this project is the product of a collaboration between a French-American photographer and a Senegalese photographer. It was “just some black dude painting Hollywood in black because the world looked better like this”.
I guess this can be explained by a set of contextual factors. The article about ONOMOllywood was published in late July 2013, after a heated debate over a series of race-related affairs like the Trayvon Martin case in the US, a series of blackface incidents in fashion magazines in Europe, etc. I guess people from both sides were already prepared to shoot at anything that could be seen as an attempt to see the world from a racial perspective… Interesting experience indeed, we’re glad this project started a conversation in other continents, that’s the purpose of art, even though for us, ONOMOllywood remains a celebration, a well deserved homage to geniuses of cinema, to timeless moments. Frida, 2013. Photograph: Omar Victor Diop
Jazz Luminary Herbie Hancock (Photograph by Guillaume Laurent/Wikipedia)
World-renowned jazz musician and composer Herbie Hancock has been named Harvard University’s 2014 Norton Professor of Poetry. Hancock will give six lectures this spring on topics that include “The Wisdom of Miles Davis,” “Breaking the Rules,” “Cultural Diplomacy and the Voice Of Freedom,” and “Innovation and New Technologies.”
“It is a great privilege to welcome Herbie Hancock as the Norton Professor,” said Homi Bhabha, Rothenberg Professor of the Humanities and Director of the Mahindra Humanities Center, which is hosting the lectures. “His unsurpassed contribution to the history of music has revolutionized our understanding of the ways in which the arts transform our civic consciousness and our spiritual aspirations. It would be no exaggeration to say that he has defined cultural innovation in each decade of the last half-century.”
Born on April 12, 1940, in Chicago, Hancock grew up in a family that wasn’t particularly musical, according to Biography.com. At the age of seven he began studying European classical music, which continues to influence both his playing and composing. At the same time, he was influenced by jazz pianists like George Shearing, Oscar Peterson, and Erroll Garner. As a young teenager, he was playing Mozart with the Chicago Symphony Orchestra. As a member of the Miles Davis Quintet (which he joined in 1963), Hancock performed on dozens of albums and established a reputation as an outstanding composer who explored genres outside traditional jazz, ranging from fusion to R&B to hip-hop.
Hancock has also provided scores for a number of TV and film projects, including Bill Cosby’s Fat Albert cartoon series and an accompanying album, as well as for the movies Death Wish (1974), A Soldier’s Story (1984), and JoJo Dancer, Your Life Is Calling (1986). He won an Academy Award for the score to ‘Round Midnight (1986); his other honors include 14 Grammy Awards, including Album Of The Year for River: The Joni Letters.
No, not every deserving artist gets their first taste of attention through one of the art world’s largest platforms such as the legendary Art Basel show, or the Frieze Art Fair. In particular, African-American artists and other artists of color are still working towards greater visibility in the highest spheres of the rarified art community. Thus, there can never be too many lists bringing attention to the abundance of talented creators on the cusp of discovery who are ready to emerge.
Here are the fresh faces and more established visionaries still gaining ground that you need to know in 2014. The African diasporan artists compiled in the photo gallery above carry forth the traditions set in motion by visual artists from significant eras such as the Harlem Renaissance and Black Arts Movement, yet speak with new images and forms that lead us into the future.
With their various approaches to creativity, visual communication, and craft, these artists each examine critical issues of the past, present and future that reflect our shared experiences across the intersecting lines of race, class, gender, sexuality and politics. Through their works, the experiences of those of the African diaspora — and beyond — are critiqued, celebrated and preserved.
Visibility is essential to supporting the continued success of these artists, and ensuring that black artists — who are increasingly gaining recognition — continue to render our images in refined and thoughtful forms from the art world’s center stage. Regardless of whether these artists ever appear at Art Basel, or already have, please keep your eyes to the wall (and in some cases the floor, ceiling, and sidewalks), because you will want to follow these folks, who are the latest provocateurs, innovators and dreamers.
These selections are not ranked in any order to acknowledge equally the importance of each artist’s style — with the awareness that there are likely more great visual “voices” out there who deserve recognition. Click here to see more inspiring art. article by Souleo via thegrio.com
An ad for “Fat Albert and the Cosby Kids” (via Museum of UnCut Funk) Think of trailblazing black TV shows, and The Cosby Show immediately comes to mind. But before the Cliff Huxtable, there was Fat Albert, Bill Cosby’s beloved animated creation that became famous for his catchphrase, “Hey, hey, hey!” Fat Albert and the Cosby Kids began airing in 1972, around the same time that other cartoons and animated shows finally began featuring black characters that weren’t all embodiments of negative stereotypes. “It wasn’t until the early 1970’s that Saturday Morning television cartoons started to feature image affirming Black characters with a modern look and positive story lines that delivered culturally relevant messages,” writes Pamela Thomas, aka SistaToFunky, on the website of her online Museum of UnCut Funk.
The museum, which I discovered thanks to a recent NPR story, is a treasure trove of African-American pop cultural artifacts and ephemera, from Blaxploitation movie posters to black comic books. Perhaps the most extensive is the black animation collection, which includes extensive explanatory texts, YouTube links, and original production cels and drawings. Thomas, who has a degree in black history from City College and is a former art dealer, focuses not just on shows with all-black casts, like Fat Albert and The Jackson 5ive cartoon, but on black characters that popped up in other shows, like Josie and the Pusscats’ Valerie Brown, whom she dubs the “first positive Black female character in a Saturday morning cartoon series”; and the “first Black male superhero character in a Saturday morning cartoon,” Schoolhouse Rock’s Verb (“I can question like: What is it? / Verb, you’re so demanding,” the song goes). Production cel for “Schoolhouse Rock! Verb! That’s What’s Happening” episode The Museum of UnCut Funk is an internet rabbit hole that you can (and should) easily get lost in for hours. It has no physical home yet, but I can only hope it will one day. In the meantime, Thomas has organized a physical exhibition, Funky Turns 40: Black Character Revolution, focused on black characters in Saturday morning cartoons. It opens at New York’s Schomburg Center for Research in Black Culture in February, and will travel to Chicago’s DuSable Museum of African American History and Seattle’s Northwest African American Museum afterwards. article by Jillian Steinhauer via hyperallergic.com
The African American Museum in Philadelphia celebrates Kwanzaa with a full weekend of events, December 28-29. (Photo by G. Widman for Visit Philadelphia) This Thursday, December 26 marked the first day of Kwanzaa, a week-long celebration of African culture and heritage, and The African American Museum in Philadelphiacelebrates with a full weekend of events on December 28 and 29. Over the course of the weekend, look forward to an informative discussion about the Seven Principles of Kwanzaa and the lighting of the museum’s Kwanzaa candles. Celebrate the roots of the holiday with expressive dances, music and storytelling as well. All events are family-friendly and encourage a reconnection with African roots and the support of African American communities.
Kwanzaa Celebration activities are included in museum admission. Guests are encouraged to bring a canned food item for Philabundance. Annual Kwanzaa Celebration at The African American Museum in Philadelphia
When: December 28-29
Where: African American Museum in Philadelphia, 701 Arch Street
Cost: Included in general admission
More info: www.aampmuseum.org article via uwishunu.com
Pelagie Green was the first black person to join St. Louis’ Muny Opera House dance chorus in 1962. While her appearance was historical, it was also life-threatening. For her own safety, 19-year-old Pelagie Green was under the constant watch of Officer Charles Wren, a black police officer whom she later married. Green went on to open the Pelagie Green Wren Academy of Dance in St. Louis. She also dedicated her teachings to St. Louis Public Schools. She was cited as sometimes waiving tuition fees for students who couldn’t afford training.
The Pelagie Green Wren dancers continued to perform all over the city, including at the esteemed Kiel Opera House. Her students have later gone to Broadway. While Green-Wren was the first to join the chorus, the first black performers appeared on the Muny stage in 1930 in the production “Show Boat.” The Muny Opera House is the oldest outdoor theater in the U.S. The venue opened its stage in 1916 with a production of “Aida”. Following the production of “Show Boat”, the opera house featured shows with all-black casts such as “Porgy and Bess”, “The Wiz” (1982) and “Ain’t Misbehavin”. There were also re-productions of “Hello, Dolly!” starring Pearl Bailey and Cab Calloway and “Guys and Dolls” featuring stage legends Leslie Uggams and Richard Roundtree. Pelagie Green Wren passed away on September 19th. Her funeral was held yesterday in St. Louis, Mo. She was 71 years old. article by Erica L. Taylor via blackamericaweb.com
Three African-American fellows have been named to this year’s MacArthur Fellows. Pictured from left-right are Kyle Abraham, Tarell McCraney and Carrie Mae Weems. (Photos courtesy of The MacArthur Foundation)
Twenty-four talented individuals were recognized Wednesday morning after they were named the 2013 class of MacArthur fellows – an honor given to an extraordinary group made up of individuals who have achieved much success in their personal creative pursuits. This year, three African-Americans — Kyle Abraham, Tarell McCraney and Carrie Mae Weems – have been identified by the MacArthur Foundation and join the group of fellows who are each awarded $625,000 to use as they wish towards their creative visions. “This year’s class of MacArthur Fellows is an extraordinary group of individuals who collectively reflect the breadth and depth of American creativity,” said Cecilia Conrad, Vice President, MacArthur Fellows Program. “They are artists, social innovators, scientists, and humanists who are working to improve the human condition and to preserve and sustain our natural and cultural heritage. Their stories should inspire each of us to consider our own potential to contribute our talents for the betterment of humankind.” In particular, the work of these three visonaries attempts to teach lessons and transform the ideas associated with the African-American experience. Abraham is a New-York-based dancer and choreographer whose work is often inspired by some of his childhood memories growing up in Pittsburgh, Pennsylvania.
