PAST EPISODES (11-20)

EPISODE ELEVEN

(c) Isaiah Watkins 2019
(c) Isaiah Watkins 2019

A Conversation with Nico Wheadon

Episode Eleven is the first episode discussing COVID-19 and how its arrival has impacted one of many communities within the art world.

Featured is Nico Wheadon, the executive director of NXTHVN, a multidisciplinary arts incubator in New Haven, Connecticut. She is an adjunct assistant professor of Art History and Africana Studies at Barnard College, and Professional Practices at Hartford Art School within the interdisciplinary MFA program.

Wheadon is an independent writer and regular contributor to The Brooklyn Rail, Artnet and C&, with her first manuscript slated for publication by Rowman & Littlefield in 2021. She is the former director of public programs and community engagement at the Studio Museum in Harlem, where she was celebrated for the pioneering artist projects, community engagement initiatives, and strategic partnerships she delivered during her five-year tenure.

She has lectured internationally at universities, conferences and symposia, and currently serves on the advisory boards for More Art, and the John Nicholas Brown Center for Public Humanities and Cultural Heritage. Through her highly collaborative and experimental practice, Wheadon mines the rich intersections of contemporary art, dialogic pedagogy and social practice. She holds an MA in Creative & Cultural Entrepreneurship from Goldsmith’s College, University of London, and a BA in Art-Semiotics from Brown University.

Nico is a dynamic intellectual, an artist and an advocate for the art community.

https://www.nicowheadon.com/

https://www.nxthvn.com/about/

https://www.contemporaryand.com/magazines/seeing-deeply/

https://brooklynrail.org/contributor/Nico-Wheadon

https://news.artnet.com/exhibitions/ford-foundation-gallery-radical-love-1612009

(c) John Dennis 2020
(c) John Dennis 2020

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EPISODE TWELVE

Photo credit ~ Dan Dawson
Photo credit ~ Dan Dawson

A Conversation with John Dowell

Episode Twelve features John E. Dowell, Jr., a nationally recognized artist. His work captures the pulse of cities and agricultural landscapes of America in his large-scale photographs. Working primarily from sunset until dawn, he focuses on the surface of buildings, the reflections of their exteriors and, quietly, their interior spaces. Illuminating the unseen, he brings awareness to a single moment. In this episode we focus on ‘COTTON: THE SOFT, DANGEROUS BEAUTY OF THE PAST’ and the history of slavery in New York City.

An artist and master-printer for more than four decades, Dowell’s fine art prints, paintings and photographs have been featured in more than 50 one-person exhibitions, and represented in the permanent collections of 70 museum and public collections. Among them are the Museum of Modern Art and the Metropolitan Museum of Art in New York City, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, and the Bibliothèque Nationale in Paris, France. Dowell’s photographs are in the Houston Museum of Fine Arts and have been added to his work in the collections of the Fogg Museum of Harvard University, the Museum of the Rhode Island School of Design and the Lehigh University Museum.

John Dowell is a Philadelphia native and Professor Emeritus of Printmaking at the Tyler School of Art at Temple University.

https://johndowell.com/

http://www.laurencemillergallery.com/exhibitions/john-dowell

https://hyperallergic.com/485798/cotton-the-soft-dangerous-beauty-of-the-past/

"Bursting Out" Photographic Composition of Wall Street, New York, NY, 2017
"Bursting Out" Photographic Composition of Wall Street, New York, NY, 2017

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EPISODE THIRTEEN

Kyle Dorosz for New York Magazine November 11, 2019
Kyle Dorosz for New York Magazine November 11, 2019

A Conversation with Monique Long

Monique Long is an independent curator of contemporary visual art and performance. Her interests include interdisciplinary practices, popular culture, and art that addresses political and social issues. Her forthcoming exhibition, Elegies: Still Lifes in Contemporary Art  at the Museum of African Diaspora in San Franciscowill showcase works by contemporary artists who primarily portray the figure but have turned to still lifes in order to recast the style of painting into an existential exploration.
Her first project as an independent curator was a critically acclaimed solo exhibition and book for painter Elizabeth Colomba. The focus of the exhibition, titled The Moon is my only luxury, was a survey of her portraits of women from 1997 to the present.
Prior, Monique held curatorial positions at New York institutions including The Studio Museum in Harlem and the Museum of Arts and Design. Monique is also a contributor to ArtNews, Document Journal, and Ubikwist Magazine. She lives and works in New York City.

https://www.documentjournal.com/2019/09/torkwase-dyson-tells-the-history-of-black-liberation-through-cartographic-art/

https://www.thecut.com/2019/11/the-new-black-vanguard-opening-look-book.html

http://www.fortgansevoort.com/events/2019/12/6/vanessa-german-in-conversation-with-monique-long-1

http://www.ubikwistmag.com/issue-no9-woman/

Still Life by Jennifer Packer. Say Her Name, 2017 Oil on canvas 48x40 inches. Courtesy the artist and Sikkema Jenkins
Still Life by Jennifer Packer. Say Her Name, 2017 Oil on canvas 48x40 inches. Courtesy the artist and Sikkema Jenkins

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EPISODE FOURTEEN

Photo courtesy Atelier Paula Crown
Photo courtesy Atelier Paula Crown

A Conversation with Paula Crown

Episode Fourteen features Paula Crown, a multimedia artist with a practice encompassing drawing, painting, video, and sculpture. She incorporates cutting-edge technology, social activism, collaboration, and a commitment to sustainability in her studio practice.

Crown has had several solo exhibitions including the Aspen Institute, Dallas Contemporary, Marlborough Gallery, New York, Venice concurrent with the 16th Venice Architectural Biennale, and Fort Gansevoort, New York, to name a few.

She has also participated in various group exhibitions nationally, including For Freedoms, Jack Shainman Gallery, New York, Mount Analogue, Aspen, and the Elmhurst Museum of Art, Illinois.

Crown’s Public Art Installations include being featured during EXPO Chicago 2014, the Miami Design District several years and Thoughts & Prayers, with For Freedoms, Chicago in 2018. Most recently, she had a public art installation at the For Freedoms Congress in LA (2020).

In 2009, President Barack Obama appointed Paula to the President’s Committee on the Arts and the Humanities. She is a trustee of the Museum of Modern and serves on the Aspen Institute Committee of the Arts.

Upcoming projects in 2020 include large-scale installations in the United States, the United Kingdom, and India.

Crown’s works are in numerous public and top-100 private collections.

Please read more about Paula Crown in links provided below.

https://www.atelierpaulacrown.com/

https://www.aspenideas.org/speakers/paula-crown

https://www.galeriemagazine.com/paula-crown-venice-dallas-contemporary/

https://hauteliving.com/2014/03/paula-crown-shares-journey-wall-street-art-world/457891/

https://forfreedoms.org/partners/for-freedoms/

JOKESTER 2, 2018, Painted epoxy resin, fiberglass and urethane foam on welded stainless steel armature, 84 x 108 x 120 inches (213.4 x 274.3 x 304.8 cm), Image courtesy Atelier Paula Crow
JOKESTER 2, 2018, Painted epoxy resin, fiberglass and urethane foam on welded stainless steel armature, 84 x 108 x 120 inches (213.4 x 274.3 x 304.8 cm), Image courtesy Atelier Paula Crow

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EPISODE FIFTEEN

Carrie Mae Weems
Carrie Mae Weems

A Conversation with Carrie Mae Weems

Episode Fifteen features Carrie Mae Weems (b. 1953 Portland, OR; lives and works in Syracuse, NY). She is widely renowned as one of the most influential contemporary American artists living today. Over the course of nearly four decades, Weems has developed a complex body of work employing text, fabric, audio, digital images, installation, and video, but she is most celebrated as a photographer. Activism is central to Weems’ practice, which investigates race, family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Over the last 30 years of her prolific career, Weems has been consistently ahead of her time and an ongoing presence in contemporary culture.

Her work is organized into cohesive bodies that function like chapters in a perpetually unfolding narrative, demonstrating her gift as a storyteller. The Kitchen Table Series (1990), for instance, is one of Weems’ most seminal works, and widely considered one of the most important bodies of contemporary photography. The series, for which Weems herself posed as the main subject, is set at a woman’s kitchen
table—a domestic stage—revealing intimate moments of her life as the story unfolds. The protagonist, though in many ways seemingly commonplace, is a multifaceted woman encompassing a variety of roles
such as lover, parent, friend, and breadwinner. Through her work, Weems tackles a number of complex contemporary issues, demanding reconsideration of predominant narratives throughout our history.

This is an intriguing conversation. Enjoy.

http://carriemaeweems.net/

https://jackshainman.com/artists/carrie_mae_weems

https://www.macfound.org/fellows/905/

https://news.syr.edu/blog/2020/01/15/internationally-renowned-artist-carrie-mae-weems-named-university-artist-in-residence-at-syracuse-university/

https://en.wikipedia.org/wiki/Mary_Lovelace_O’Neal

https://en.wikipedia.org/wiki/Barbara_Chase-Riboud

https://en.wikipedia.org/wiki/Hung_Liu

Carrie-Mae-Weems-original
Carrie-Mae-Weems-original

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EPISODE SIXTEEN

Photo Kyle Dorosz. Courtesy the artist
Photo Kyle Dorosz. Courtesy the artist

A Conversation with Nathaniel Mary Quinn

Episode Sixteen features Nathaniel Mary Quinn.
‘Quinn’s passion for drawing began at a young age, while he was growing up on the South Side of Chicago. In ninth grade, he received a scholarship to attend Culver Academies boarding school in Indiana—but a month after arriving at the school, Quinn received news from his father that his mother had suddenly passed away. He returned to Chicago for Thanksgiving the following month, only to find that the rest of his family—his father and brothers—had abandoned his childhood home without a trace. This jarring experience further propelled Quinn’s art, and he decided to commit himself to his education, adding his mother’s name, Mary, to his name so that she would appear on all of his degrees. He received a BA in art and psychology from Wabash College, Crawfordsville, Indiana, in 2000, and an MFA from New York University in 2002.’
Quinn is currently represented by Gagosian. You will enjoy this very high energy, refreshing and invigorating talk.

https://gagosian.com/artists/nathaniel-mary-quinn/

https://www.wsj.com/articles/the-deadpan-world-of-nathaniel-mary-quinn-11567600802

https://hyperallergic.com/484547/portraits-that-feel-like-chance-encounters-and-hazy-recollections/

https://www.rhoffmangallery.com/artists/nathaniel-mary-quinn2

https://www.vogue.com/slideshow/gagosian-quarterly-anderson-cooper-and-nathaniel-mary-quinn

https://hypebeast.com/2020/2/nathaniel-mary-quinn-soil-seed-and-rain-rhona-hoffman-gallery-exhibition

https://www.artnews.com/art-in-america/aia-reviews/nathaniel-mary-quinn-soil-seed-rain-rhona-hoffman-1202682453/

https://www.juxtapoz.com/news/painting/soil-seed-and-rain-nathaniel-mary-quinn-returns-to-rhona-hoffman-gallery/

NATHANIEL MARY QUINN
How Come Not Me, 2019
Black charcoal, gouache, soft pastel, oil pastel on Coventry Vellum Paper
16 x 13 inches
40.6 x 33 cm
© Nathaniel Mary Quinn. Photo: Rob McKeever. Courtesy Gagosian.
NATHANIEL MARY QUINN How Come Not Me, 2019 Black charcoal, gouache, soft pastel, oil pastel on Coventry Vellum Paper 16 x 13 inches 40.6 x 33 cm © Nathaniel Mary Quinn. Photo: Rob McKeever. Courtesy Gagosian.

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EPISODE SEVENTEEN

Photo credit: Jide Alakija
Photo credit: Jide Alakija

A Conversation with Odili Donald Odita

Odili Donald Odita is an abstract painter whose work explores color both in the figurative historical context, and in the sociopolitical sense. He is best known for his large-scale canvases with kaleidoscopic patterns and vibrant hues, which he uses to reflect the human condition.

Born in Nigeria and raised in the American Midwest, Odita’s work is also heavily inspired by a sense of dual identity, combining aspects of Western modernity with African culture. His practice speaks to a contrast of cultures and a desire to create something new from a set of distinct parts. In this sense, his paintings, like a stitched or quilted textile, are weavings from different spaces, times and various temperaments, which convey the complexity of culture, identity, and being.’

Odita has had several solo exhibitions in museums and institutions, has exhibited extensively in the United States and internationally and has been commissioned to paint many large-scale wall installations.

Included are links to Odili Donald Odita’s complete bio and many accomplishments. He is currently represented by the Jack Shainman Gallery, NYC.

Please enjoy this reflective discussion about Art and Humanity.

https://jackshainman.com/viewing_room/odili_donald_odita_mirror

https://www.odilidonaldodita.com/

https://en.wikipedia.org/wiki/Odili_Donald_Odita

https://www.forbes.com/sites/adamlehrer/2016/02/10/artist-odili-donald-odita-emphasizes-human-discrepancies-through-color-and-lines-at-jack-shainman/#3f3bca66d8ed

https://hyperallergic.com/269432/painted-colors-in-conflicted-motion/

Odili Donald Odita Flower, 2019 acrylic on canvas 60 1/8 x 60 1/8 x 1 1/2 inches © Odili Donald Odita. Courtesy of the artist and Jack Shainman Gallery, New York
Odili Donald Odita Flower, 2019 acrylic on canvas 60 1/8 x 60 1/8 x 1 1/2 inches © Odili Donald Odita. Courtesy of the artist and Jack Shainman Gallery, New York

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EPISODE EIGHTEEN

Photo credit Mike Vitelli for Kennedy with SKY
Photo credit Mike Vitelli for Kennedy with SKY

A Conversation with Kennedy Yanko

Episode Eighteen features Brooklyn based painter-sculptor Kennedy Yanko.

Kennedy’s practice is profound, and her work is unique. She has redefined her paintings as skins and combines these unconventional paintings with metal and other hard found objects and creates beautiful, unexpected sculptures.

“Since debuting sculptures from her “Elements and Skin” collection as part of a Derrick Adams-curated group show, “Hidden in Plain Sight” (Jenkins Johnson Project Space. Brooklyn, NY. 2017),” Kennedy has exhibited her work in several solo and group shows and has been the recipient of several prestigious awards.

Upcoming and current exhibitions include the following:

Solo Show, SALIENT QUEENS, Vielmetter. Los Angeles, CA. Fall 2020.

Group show, SITE: Art and Architecture in the Digital Space, Library Street Collective. May 1-July 2020.

Group show, PARALLELS AND PERIPHERIES, Anna Marra Galleria. Fall 2020.

Public sculpture, 3 WAYS, Sculpture for New Orleans. New Orleans, LA. 2019-2021

I look forward to following her for years to come. Her work is aesthetically beautiful. Links to Kennedy Yanko’s expanded bio are provided. Enjoy.

https://kennedyyanko.com/

http://kavigupta.com/artist/kennedy-yanko/

http://www.jenkinsjohnsongallery.com/artists/kennedy-yanko

https://www.vice.com/en_us/article/evmw3a/how-artist-kennedy-yanko-went-from-bodybuilding-to-metalworking

Agate
83 x 70 x 43in.
Paint skin, aluminum, steel, rubber, glass, plastic. 
2019. Agate debuted at HANNAH, Kennedy's solo show with Kavi Gupta Gallery, September 2019
Agate 83 x 70 x 43in. Paint skin, aluminum, steel, rubber, glass, plastic. 2019. Agate debuted at HANNAH, Kennedy's solo show with Kavi Gupta Gallery, September 2019

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EPISODE NINETEEN

June Edmonds Portrait 2020 Courtesy of Luis de Jesus Los Angeles
June Edmonds Portrait 2020 Courtesy of Luis de Jesus Los Angeles

A Conversation with June Edmonds

In this Episode I feature June Edmonds, a west coast based abstract painter that was awarded the AWARE prize during the 2020 Armory show in NYC. AWARE, an acronym for Archives of Women Artists, Research and Exhibitions, is a Paris based non profit that this year debuted an award for a Solo Exhibition of Work by a Woman Artist. June’s work was exhibited by the Luis De Jesus Los Angeles Gallery.

June was recognized for a never seen before body of work, her new Flag paintings. Each flag is associated with the narrative of an African American, past or present, a current event, or a chapter from American history. Her application of color incorporates an intellectual perspective reflecting on systematic disenfranchisement, emotions, and power.

June has participated in several residency programs, has received many grants from well-known organizations and her paintings are held in collections throughout the United States

It gives me pleasure to highlight AWARE, the gallery for having the courage to present a solo female artist at the Armory and most of all the talented artist June Edmonds.

https://juneedmonds.com/home.html

https://awarewomenartists.com/en/?s=june+edmonds

https://www.luisdejesus.com/artists/june-edmonds

https://hyperallergic.com/263478/we-ask-some-art-world-luminaries-to-pick-the-best-worst-of-2015/

https://autre.love/interviewsmain/2019/6/27/a-conversation-with-june-edmonds-and-luis-de-jesus

Shadd Cary Flag
Named after Mary Ann Shadd Cary (1823 –1893) an American-Canadian anti-slavery activist, journalist, publisher, teacher, and lawyer.
Shadd Cary Flag Named after Mary Ann Shadd Cary (1823 –1893) an American-Canadian anti-slavery activist, journalist, publisher, teacher, and lawyer.

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EPISODE TWENTY

Photo Credit: "Photograph by Lia Clay for the 2018 Queer|Art Community Portrait Project."
Photo Credit: "Photograph by Lia Clay for the 2018 Queer|Art Community Portrait Project."

A Conversation with David Antonio Cruz

Episode Twenty features David Antonio Cruz, a multidisciplinary artist and a Professor of the Practice in Painting and Drawing at the School of the Museum of Fine Arts at Tufts University.

Cruz fuses painting and performance to explore the visibility and intersectionality of brown, black, and queer bodies. Cruz received a BFA in painting from Pratt Institute and an MFA from Yale University. He attended Skowhegan School of Painting and Sculpture and completed the AIM Program at the Bronx Museum.

Recent residencies include the LMCC Workspace Residency, Project For Empty Space’s Social Impact Residency, and BRICworkspace. Cruz’s work has been included in notable group exhibitions at the Smithsonian National Portrait Gallery, El Museo del Barrio, BRIC, Performa 13, and the Bronx Museum of Art. His fellowships and awards include the Joan Mitchell Foundation Painters & Sculptors Grant, the Franklin Furnace Fund Award, the Urban Artist Initiative Award, the Queer Mentorship Fellowship, and the Neubauer Faculty Fellowship at Tufts University. Recent press includes The New York Times, Wall Street Journal, WhiteHot Magazine, W Magazine, Bomb Magazine, and El Centro Journal.

http://www.cruzantoniodavid.com/https://en.wikipedia.org/wiki/David_Antonio_Cruz

http://moniquemeloche.com/artists/david-antonio-cruz/

https://whitehotmagazine.com/articles/antonio-cruz-return-dirty-boys/3384

https://www.chicagogallerynews.com/events/david-antonio-cruz-one-day-i-ll-turn-the-corner-and-i-ll-be-ready-for-it

https://www.documentjournal.com/2019/10/david-antonio-cruz-the-artist-giving-lgtbq-victims-of-violence-a-place-in-art-history/

soletthemeatasylumpink, 2016  
Oil and latex on wood panels 72" x 96" x 10"  
Courtesy of Monique Meloche Gallery and the artist
soletthemeatasylumpink, 2016 Oil and latex on wood panels 72" x 96" x 10" Courtesy of Monique Meloche Gallery and the artist

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