Political jockeying starts before debate opens
Political jockeying starts before debate opens
Tensions between the camps of Republican Bob Stefanowski and Democrat Ned Lamont reached a head before the candidates for governor even made it to the stage.
A dark and drizzly afternoon didn’t deter dozens of members from the state’s public employee unions from rallying in front of the Garde Arts Center for two hours leading up to the first debate between the two candidates.
They were met in full force by Stefanowski’s supporters who, though fewer in number, were just as loud. By 6 p.m., at least one fight had broken out.
State Republican chairman J.R. Romano and Lori Pelletier, president of the Connecticut AFL-CIO, were at the center of the scrum, apparently attempting to de-escalate the situation, as former Republican U.S. Senate Candidate Dominic Rapini shouted for Stefanowski supporters to back up.
When one side shouted, “B.S. Bob,” the other responded with, “Retread Ned,” ultimately summing up the discourse between Stefanowski and Lamont, who just days after the primary dubbed each other, “Trumpanowski” and “Ned Malloy.”
ntroduced by Kevin Lembo, who is running for re-election as state Comptroller, and a band of bagpipers, Lamont addressed his supporters in the street ahead of the debate.
“I’m all in for the next four years,” he said, before being drowned out by his own supporters as well as Stefanowski’s.
The New London debate is known for attracting a lively crowd ahead of divisive political debates. Several union members recalled participating in similar rallies ahead of debates between Republican Tom Foley and Gov. Dannel P. Malloy, as well as a debate between Linda McMahon, who ran on the Republican ticket for U.S. Senate, against Democrat Sen. Chris Murphy.
Sponsored by the New London-based paper The Day and WTNH, the Wednesday debate marks the first head-to-head match-up between Stefanowski and Lamont, who have been trading insults online and in advertising since the Aug. 14 primary.
Stefanowski and Lamont are slated to participate in four more debates prior to the November election.
Independent candidate Oz Griebel was not invited to be part of Wednesday’s debate despite a plea to the Texas-based parent company of WTNH, which set the parameters for participation.
Aldrich Contemporary Art Museum // Connecticut's Cultural Treasures
New London Community Orchestra
Barry Bergdoll, Learning from the Americas: Gropius and Breuer in the New World
Barry Bergdoll will present a short lecture on Walter Gropius and Marcel Breuer, arguing that the Bauhaus emigrés did not only have an impact at Harvard; they were types and models for the New World in general, with considerable attention from Latin America in particular. With responses by Michael Hays, Eliot Noyes Professor of Architectural Theory, and Mohsen Mostafavi, Dean and Alexander and Victoria Wiley Professor of Design.
Barry Bergdoll is the Meyer Schapiro Professor of Art History and Archaeology at Columbia University and Curator in the Department of Architecture and Design at the Museum of Modern Art.
Part of the series “Then and Now: Walter Gropius and the Lineage of the Bauhaus,” sponsored by the Breger Fund in Honor of Walter Gropius.
City of Westminster - LONDON walking tour
Lots of top attractions in London are actually located in the city of Westminster (London metro). So it's in Westminster that we start exploring London, in our own walking tour.
In this vlog you see (in this order):
- Parliament Square: Big Ben and Palace of Westminster
- Westminster Abbey
- St James's Park
- Buckingham Palace, the change of the guard and Victoria Memorial
- Clarence House and St James's Palace
- Westminster Bridge and London Eye
- Admiralty Arch and Trafalgar Square
- Covent Garden
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Perperikon, by Stuart Folse - performed by Duo Diorama - Minghuan Xu, violin and Winston Choi, piano
DUO DIORAMA comprises Chinese violinist MingHuan Xu and Canadian pianist Winston Choi. They are compelling and versatile artists who perform in an eclectic mix of musical styles, ranging from the great standard works to the avant-garde. It is a partnership with a startlingly fresh and powerful approach to music for violin and piano. Comprised of two renowned soloists who can effectively blend their distinctive personalities together to create a unified whole, the duo maintains an active performing and touring schedule.
MingHuan Xu performs extensively in recital and with orchestra in China and North America. She is also a highly sought-after chamber musician, having collaborated with the St. Petersburg Quartet, Colin Carr, Eugene Drucker, Ilya Kaler, and Ani Kavafian. She delights audiences wherever she performs with her passion, sensitivity and charisma. Xu was a winner of the Beijing Young Artists Competition and gave her New York debut at age 18 as soloist with the New York Youth Symphony Orchestra. Currently on faculty at Loyola University Chicago, she plays on a 1758 Nicolas Gagliano violin.
Winston Choi was Laureate of the 2003 Honens International Piano Competition (Canada) and winner of France’s 2002 Concours International de Piano 20e siècle d’Orléans. He regularly performs in recital and with orchestra throughout North America and Europe. Already a prolific recording artist, he can be heard on the Arktos, Crystal, l’Empreinte Digitale, Intrada and QuadroFrame labels. Formerly on the faculties of the Oberlin Conservatory and Bowling Green University, he is Assistant Professor and Head of Piano at the Chicago College of Performing Arts at Roosevelt University.
Dr. Stuart Folse's compositions have been performed throughout the United States and Great Britain and have premiered at the University of Texas at Austin, The University of Michigan, Ann Arbor, the British Music Information Center in London and New York City's Carnegie Hall. His principal research activity involves the integration of popular and world musics into musicianship pedagogy. He is published in the Journal of Music Theory Pedagogy and Oxford University Press' Analytical Studies in World Music and has presented papers at national and regional conferences of the College Music Society. His His music has attained recognition from the Ithaca College Choral Composition Competition, the Uroboros Ensemble and The University of Texas New Music Ensemble and University Chorus. To date, his works have been published by Neil A. Kjos Music Company, Tuba-Euphonium Press and Brazinmusikanta Publications.
This release is available from Ebb and Flow Arts:
℗ © 2017 Ebb and Flow Arts - All rights reserved.
Between God & The Devil: Mexico's Land of Sorcerers
Catemaco in Veracruz, Mexico is known for two things: It's the place where Mel Gibson directed Apocalypto, and it is full of self-called witches that work either for God or the Devil. VICE doesn't really care about Mel's movie, but we were quite enchanted by the idea of a town that has gotten such a huge reputation for its witchcraft that even politicians and celebrities from all over Mexico have gone to seek for their cures and powers.
In this episode of Mexicalia, we head down to the Disneyland of satanist tourists and check out all the chicken killing, voodoo dolls, and spirit possessions the town had to offer.
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Myron C. Fagan - Les Illuminati et le CFR (1967)
- S'abonner à la chaîne:
Il s'agit d'un enregistrement de 1967 de Myron Coureval Fagan, pour lequel j'ai mis des sous-titres en français. J'ai moi-même corrigé la traduction jusqu'à 23 minutes, ensuite c'est une traduction automatique. Aussi, ce qui serait bien c'est que vous m'aidiez à finir la traduction des sous-titres ; )
ici:
Myron Coureval Fagan (31 octobre 1887 - 12 mai 1972) est un dramaturge, réalisateur et producteur de cinéma américain. Il fut également essayiste de théories du complot, anticommuniste fervent et l'un des premiers à parler du complot Illuminati.
Myron Coureval Fagan fut le mari de Minna Gombell.
Il fut inspiré par John Thomas Flynn pour ses essais conspirationnistes.
Voici une liste de ses oeuvres:
Films :
1926 Mismates (scénariste)
1929 The Great Power (scénariste et réalisateur)
1931 Smart Woman (scénariste, adapté de sa pièce Nancy's Private Affair)
1931 A Holy Terror (scénariste)
Livres et articles :
1932 Nancy's Private Affair, A comedy in three acts
1932 Peter Flies High, A comedy in three acts
1934 The Little Spitfire, A comedy-drama in three acts
1948 Red stars in Hollywood: Their helpers, fellow travelers, and co-conspirators
1948 Moscow over Hollywood (published by R.C. Cary, Los Angeles)
1949 Moscow marches on in Hollywood (News-bulletin/Cinema Educational Guild)
1950 Reds in the Anti-Defamation League (Cinema Educational Guild. News-bulletin, May 1950)
1950 Reds in crusade for freedom! (News bulletin)
1950 Hollywood reds are on the run!
1950 Documentation of the Red stars in Hollywood.
1950 Reds in the Anti-Defamation League.
1951 What is this thing called anti-semitism? (News-bulletin / Cinema Educational Guild)
1951 Saga of Operation Survival (News-bulletin / Cinema Educational Guild)
1953 Hollywood backs U.N. conspiracy
1954 Red Treason on Broadway (Cinema Educational Guild)
1956 United Nations on trial in Washington, D.C (News-bulletin)
1962 Must we have a Cuban Pearl Harbor? (News-bulletin / Cinema Educational Guild)
1964 How Hollywood is brainwashing the people (News-bulletin / Cinema Educational Guild)
1964 Civil rights, most sinister tool of the great conspiracy (News-Bulletin)
1965 How greatest white nations were mongrelized, then negroized: That is the fate planned for the American people (News-bulletin)
1966 The UN already secret government of U.S.!: Our recall project can smash it! (News-bulletin)
1966 The complete truth about the United Nations conspiracy! (News-bulletin)
1967 You must decide fate of our nation!!!: The Negro (CFR) plot is our greatest menace! (News-bulletin)
1969 Proofs of the great conspiracy and how to smash it!!! (News-bulletin / Cinema Educational Guild)
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“New Photographies”
“New Photographies”
Moderator: Amelia Kahl
Associate Curator of Academic Programming
Markus Brunetti
Cara Romero
SYMPOSIUM
ART, ARTISTS, AND THE MUSEUM: A CONVERSATION
Friday, May 3, 2019
Hood Museum of Art, Dartmouth
The Hood’s second major reopening event celebrates numerous artists whose work is featured in the galleries. The artists will speak about their own work and join a panel discussion on one of four broad themes: Global Contemporary Art, New Photographies, Art and Social Justice, and Painting Now. Participants include Morehshin Allahyari, Bahar Behbahani, Markus Brunetti, Lalla Essaydi, Jeffrey Gibson, Jane Hammond, Sin-ying Ho, Cara Romero, Alison Saar, and Hulleah Tsinhnahjinnie.
Vatican City Explained
CGPGrey Coffee Mug!
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Matt Andersen - One Good Song - 2016 Tour Time-Lapse
Capturing time-lapses out the front window of the bus during the 2016 Canada/United States tour for Matt Andersen's Honest Man album.
Feb 16 2016 Duncan, BC @ Cowichan Performing Arts Centre Feb 17 2016 Victoria, BC Farquhar Auditorium
Feb 18 2016 Vancouver, BC @ Vogue Theatre
Feb 19 2016Kelowna, BC @ Kelowna Community Theatre
Feb 20 2016Banff, AB @ The Banff Centre - Eric Harvie Theatre
Feb 21 2016 Edmonton, AB @ Northern Alberta Jubilee Auditorium Feb 22 2016 Calgary, AB @ Southern Alberta Jubilee Auditorium
Feb 24 2016 Saskatoon, SK @ Broadway Theatre
Feb 25 2016 Regina, SK @ University of Regina - Darke Hall
Feb 26 2016 Winnipeg, MB @ Burton Cummings
Feb 27 2016 Guelph, ON @ River Run Centre
Feb 28 2016 London, ON @ Centennial Hall
Mar 1 2016 Kitchener, ON @ Centre in the Square
Mar 2 2016 St. Catharines, ON @ FirstOntario Performing Arts Centre
Mar 3 2016 Owen Sound, ON @ Roxy Theatre
Mar 4 2016 Burlington, ON @ Burlington Performing Arts Centre
Mar 5 2016 Toronto, ON @ Massey Hall
Mar 6 2016 Orillia, ON @ Orillia Opera House
Mar 8 2016 Port Hope, ON @ Cameco Capitol Arts Centre
Mar 9 2016 Markham, ON @ Flato Markham Theatre
Mar 10 2016 Kingston, ON @ Grand Theatre - Rosen Auditorium
Mar 11 2016 Burlington, VT @ Club Metronome
Mar 12 2016 Cambridge, MA @ Club Passim
Mar 12 2016 Boston, MA @ Club Passim
Mar 13 2016 Bethlehem, PA @ Blast Furnace Blues Festival
Mar 14 2016 Vienna, VA @ Jammin Java
Mar 15 2016 New London, CT @ Garde Arts
Mar 16 2016 Portsmouth, NH @ Birdseye
Mar 18 2016 New York City, NY @ Rockwood Music Hall
Mar 19 2016 Philadelphia, PA @ Tin Angel
Mar 20 2016 Fall River, MA @ Narrows Center for the Arts
Mar 23 2016 Quebec, QC @ District Saint Joseph
Mar 24 2016 Ottawa, ON @ National Arts Centre - Southam Hall
Mar 25 2016 Montreal, QC @ L’Astral
Mar. 26th Woodstock, NY @ Levon Helm Studios - Midnight Ramble
April 11 2016 Fredericton, NB @ Playhouse
April 12 2016 Fredericton, NB @ Playhouse
Apr 13 2016 Moncton, NB @ Capitol Theatre
Apr 14 2016 Saint John, NB @ Imperial Theatre
Apr 15 2016 Halifax, NS @ Rebecca Cohn Auditorium
Apr 16 2016 Halifax, NS @ Rebecca Cohn Auditorium
Apr 27 2016 Chicago, IL @ Audio Tree Studios
Apr 28 2016 Ann Arbor, MI @ The Ark
Apr 29 2016 Chicago, IL @ Schuba's
Apr 30 2016 St. Paul, MN @ Turf Club
May 1 2016 Cedar Rapids, IA @ CSPS Hall
May 2 2016 Omaha, NE @ Slowdown
May 3 2016 Kansas City, MO @ Elvis Lounge at Knuckleheads
May 4 2016 Salina, KS @ Stiefel On Stage
May 5 2016 Dallas, TX @ Kessler Theater
May 6 2016 Austin, TX @ Cactus Café
May 7 2016 Conroe (Houston), TX @ Dosey Doe
May 8 2016 San Antonio, TX @ Sam's
May 9 2016 Albuquerque, NM @ The Cooperage
May 10 2016 Tucson, AZ @ Club Congress
May 11 2016 Phoenix, AZ @ Musical Instrument Museum
May 12 2016 San Diego, CA @ Winstons
May 13 2016 Los Angeles, CA @ The Mint
May 14 2016 San Francisco, CA @ Bricks and Mortar
May 15 2016 Santa Cruz, CA@ Moe's
May 17 2016 Eugene, OR @ Hi Fi Music Lounge
May 18 2016 Bend, OR @ Volcanic Pub
May 19 2016 Portland, OR @ White Eagle
May 20 2016 Seattle, WA @Tripple Door
May 21 2016 Electric City, WA @ Sunbanks
Celebrating the East Building Twentieth-Century Art Series, Part 12: Pop Art
David Gariff, senior lecturer, National Gallery of Art. In all of art history, only one movement dared to predict public and commercial success in its very name. The distinction is appropriate, because pop art was all about commerce and consumption from the beginning. Emerging in mid-1950s Great Britain and soon spreading to the United States, pop was a creature of the postwar boom, when television, advertising, fast food, birth rates, home appliances, and suburban sprawl were quickly changing daily life in the developed world. Works by Andy Warhol, Roy Lichtenstein, and Claes Oldenburg reflect a new syntax of imagery drawn from popular culture and mass media, devoid of exalted art historical themes and the personal expression that were hallmarks of abstract expressionist painting. As part of the series Celebrating the East Building: 20th-Century Art, senior lecturer David Gariff considers the wide variety of objects, themes, and working methods that characterized pop art and the way it blurred distinctions between high art and popular culture. This lecture was presented on August 23, 2018, at the National Gallery of Art.
The European Union Explained*
The European Union with a lot of asterisks.
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Dan Holdsworth - Transmission: New Remote Earth Views
Brancolini Grimaldi announces a new exhibition of work by Dan Holdsworth curated by Sebastien Montabonel.
In Transmission: New Remote Earth Views, Holdsworth appropriates topographical data to document the ideologically and politically loaded spaces of the American West in an entirely new way. In his images of the Grand Canyon, Yosemite, Mount Shasta, Mount St. Helens and Salt Lake City (Park City), we see stark, uninterrupted terrains where meaning is made through what it is absent, as much as what is seen. What at first appears to be a pure white snow-capped mountain is in fact a digitally rendered laser scan of the earth interpreted from United States Geological Survey data, a 'terrain model' used to measure climate and land change - to measure man's effect on the earth.
Belying his empirical methodology is the fact that each of these terrains has a rich and conflicting cultural legacy. Beginning with the idealised aesthetic of the Romantic sublime via the deadpan industrial frames of the New Topographics photographers a century later, each has been subject to the gaze of artistic, political, and sociological categories claiming this territory as their own. Extending ideas of the frontier and seeing anew, Transmission captures the world as if from space, functioning not only as a map of the land but as a mapping of the discourses that these lands have come to represent.
Working outside of the wilderness myths that render the images from the photographic avant-garde the 'after' to nineteenth-century visions of Carleton Watkins' 'before', Holdsworth opens up a working territory that is open to the ambiguous and ethereal, oscillating between realms of art and science, the familiar and the alien, the industrial and the natural. Without the signifiers of the natural there is no idealised wilderness or picturesque aesthetic, no invoking of the Romantic version of the sublime; and yet at the same time what is antithetical to these visual tropes - the man-made, the artificial, the vernacular of the New Topographics photographers - is also absent. With neither the schema of the romantic nor the everyday to guide us, Holdsworth absorbs us into a vision of the unknown; a space that is unequivocally, transcendentally, Other.
Holdsworth was born in 1974 in Welwyn Garden City, England. He studied photography at the London College of Printing, and has exhibited internationally including solo shows at BALTIC Centre for Contemporary Art, Gateshead, and Barbican Art Gallery, London; and group shows at Tate Britain, London, and Centre Pompidou, Paris. His work is held in collections including the Tate Collection, Saatchi Collection and the Victoria and Albert Museum, London. A new book of Holdsworth's work titled Blackout will be published by BG Steidl in March.
Dan Holdsworth would like to thank and acknowledge the following people, organisations, references and resources: Dr. Stuart Dunning: Dr. of Geomorphology at Northumbria University, England. The US Geological Survey: Gesch, D.B., 2007, The National Elevation Dataset, in Maune, D., ed., Digital Elevation Model Technologies and Applications: The DEM Users Manual, 2nd Edition: Bethesda, Maryland, American Society for Photogrammetry and Remote Sensing, p. 99-118. Gesch, D., Oimoen, M., Greenlee, S., Nelson, C., Steuck, M., and Tyler, D., 2002, The National Elevation Dataset: Photogrammetric Engineering and Remote Sensing, v. 68, no. 1, p. 5-11.Yosmemite National Park, CA: Rockfall Studies: LiDAR data acquisition and processing completed by the National Center for Airborne Laser Mapping (NCALM - NCALM funding provided by NSF's Division of Earth Sciences, Instrumentation and Facilities Program. EAR-1043051.
This Ultra Modern Tiny House Will Blow Your Mind
This ultra modern tiny house on wheels is truly something to behold. With it's jet black exterior, super clever design and incredibly high quality of craftsmanship, this tiny home is sure to blow your mind.
Please consider becoming a Living Big Patron and helping to support our channel:
Inside, the home is every bit as practical as it is beautiful. Constructed by couple Matt and Lisa, this tiny house has absolutely everything the young couple needs and many extras on top! As far as tiny home’s go, this one is especially spacious and packed full of clever smalls space design ideas.
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If you’re a fan of modern downsized architecture, this tiny home is sure not to disappoint. Enjoy the full video tour of this spectacular home on wheels.
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Music in this video by Bryce Langston:
Presented and Produced by: Bryce Langsyton
Camera: Bryce Langston & Rasa Pescud
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'Living Big in a Tiny House' © 2019 Zyia Pictures Ltd
Erewhon, by Hugues Dufourt - Mvt. 2
Performed by: line upon line
Matthew Teodori, Cullen Faulk, and Adam Bedell
Guest performers:
Timothy Briones, Andrew Fuhrman, Eric Peterson
ABOUT THE PIECE:
With Erewhon, Hugues Dufourt (b. Lyon, 1943) embarked upon a potent new form of expression, veering in an untried stylistic and conceptual direction, dramatically changing the treatment of musical parameters - i.e. temporality, space, form, energy and density.
Erewhon's (1972-76) four movements encompass sound-noise concepts and examine acoustic volumes along with their scope for permutation. With a fresh approach to composition that is resolutely avant-garde, the composer besets formalism with jolts and fractures and creates explosive patches of contrast along with areas of intuitive or formal turbulence.
Instinctive, genetic or refractory reactions, zones of emergence, resurgence and persistence containing twisted, stretched and compressed outlines and layers produce a conflicting temporality. Dufourt's craftsmanship combines traditionally Western assets (a player's routine gestures and traditional playing styles) with a determined drive for musical emancipation.
ABOUT THE PERFORMERS:
Formed in 2009, line upon line percussion is committed to seeking new ways for percussion instruments to advance contemporary music. To date, the ensemble has commissioned and premiered 8 new works for percussion with 13 additional works currently in the collaborative process. In 2011, the Austin-based trio released a disc of commissioned, homegrown music and premiered their award winning project, seeing times are not hidden, a site-specific work for custom chimes. April 2013 brought the North American premiere of Hugues Dufourt's massive, evening-length masterpiece, Erewhon.
After nominations in 2011 and 2012, the trio was named Best Ensemble by the Austin Critics' Table in 2013. The Austinist called line upon line the premier new music percussion ensemble in Texas and the South.
line upon line maintains educational and outreach roles with the Austin Chamber Music Center and has performed and taught at numerous academic institutions around the United States. November 2012 marked their first appearance at the Percussive Arts Society International Convention. The group has previously performed at the Fusebox Festival, SXSW, Fast Forward Austin, the Victoria Bach Festival and the International Festival-Institute at Round Top.
Operation InfeKtion: How Russia Perfected the Art of War | NYT Opinion
Russia’s meddling in the United States’ elections is not a hoax. It’s the culmination of Moscow’s decades-long campaign to tear the West apart. “Operation InfeKtion” reveals the ways in which one of the Soviets’ central tactics — the promulgation of lies about America — continues today, from Pizzagate to George Soros conspiracies. Meet the KGB spies who conceived this virus and the American truth squads who tried — and are still trying — to fight it. Countries from Pakistan to Brazil are now debating reality, and in Vladimir Putin’s greatest triumph, Americans are using Russia’s playbook against one another without the faintest clue.
Translations provided by Radio Free Europe / Radio Liberty: rferl.org and by Gino Wang.
Read the story here: nytimes.com/disinformaiton
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Celebrating the East Building Twentieth-Century Art Series, Part 11: The Washington DC Color School
David Gariff, senior lecturer, National Gallery of Art. By the end of the 1950s abstract expressionism had begun to wane. Color-field or hard-edge painters, depending on their approach, adopted the large scale and rich palette of painters like Jackson Pollock, Barnett Newman, and Mark Rothko. Morris Louis poured paint onto huge unprimed canvases, as Pollock did, but in a different way and with different results. Urgent physical gestures gave way to something that looks more like an impersonal force of nature. Louis’s younger colleagues, including Gene Davis, Thomas Downing, Sam Gilliam, Howard Mehring, Kenneth Noland, and Paul Reed, were equally inventive, whether staining unprimed canvas, masking with tape, or crumpling and cinching the canvas to create a space at once optical and physical. Most of these painters lived in Washington, DC, where their originality earned them the name Washington Color School. As part of the series Celebrating the East Building: 20th-Century Art, senior lecturer David Gariff examines a golden age in the history of modern art in Washington, DC. This lecture was presented on August 21, 2018, at the National Gallery of Art.
Erasure by Exclusion: How Art Schools and Institutions Uphold White Supremacy
The art world is a microcosm of the society we live in. It should come as no surprise then that structural racism and capitalism permeates how we look at art; it informs the work that gets prioritized as important and taught in the many classrooms that shape the arts for generations to come. This panel discussion will address the inherent issues of the structures in place at institutions of higher learning that seem content or complacent in continuing to teach an art history that is void of the intellectual and avant-garde contributions by artists of color. Together we will examine cultural erasure and discuss the nature of this oversight with the intention of identifying solutions to the problem.
Robin J. Hayes, PhD wrote/directed/produced the award-winning documentary Black and Cuba. She’s developing the television series Fortune, an adaptation of the prize-winning novel In the Land of Love and Drowning. Hayes is also directing the documentary 9 Grams, part of a multi-platform project produced by S. Epatha Merkerson. A Yale and NYU alum, Hayes received Ford Foundation and National Endowment for the Humanities funding for her work. She is currently Assistant Professor at The New School in New York City.
Tomashi Jackson was born in Houston, Texas and raised in Los Angeles, California. She holds a MFA in Painting and Printmaking from the Yale School of Art. She earned a degree of Science Master of Art, Culture, and Technology from the M.I.T. School of Architecture and Planning in 2012. Her work has been featured in BOMBLOG, The Harvard Crimson, The Yale Daily News, The Yale Herald, Art Papers,Artnet News, and Hyperallergic. She is represented by Jack Tilton Gallery in New York City and teaches Drawing and Interrelated Media Practice at Massachusetts College of Art and Design.She lives and works in New York City and Cambridge, MA
Cheryl R. Riley is a National Endowment for the Arts recipient whose visual art and furniture designs are in the collections of the Smithsonian, the Mint Museum of Architecture and Design, the cities of New York and Atlanta, among others. She has served on the executive boards of major institutions such as the groundbreaking Capp Street Project, the Museum of Arts and Design and the San Francisco Museum of Modern Art’s SECA council. Cheryl is developing several installation based and performance projects through residencies such as a recently awarded Vermont Studio Center fellowship. She has also written about art and artists for national publications and is a private and corporate art advisor with a focus on artists of the African Diaspora.
Bill Gaskins is an Associate Professor in the Department of Art and the American Studies Program at Cornell University. As an artist he explores the intersections of photography, cinema, and portraiture in the twenty first century from an interdisciplinary enagement that include his body of essays on art and culture through the frames of history of photography, art history, American and African American Studies scholarship. An important entry point for the work of Bill Gaskins is his fascination with the myths of photography and American life as revealed through representations of race in visual culture. He has been on the faculty at the School of the Art Institute of Chicago, the University of Missouri, and Parsons School of Design and has been extensively engaged with art in higher education in pedagogy and policy. He was awarded a Distinguished Teaching Award at Parsons in 2012 and was awarded the Watts Prize for Teaching Excellence from the Cornell University Department of Art in 2016.
Born in The Bronx, Anastasia Warren lives and works in New York City. She is currently attending The School of Visual Arts pursuing a degree in Visual Critical Studies. Her work explores identity, justice, and imitation. She has interned at The Metropolitan Museum of Art and ClampArt and exhibited at Space 776. Her work has been featured in Afropunk, New Museum’s Black Women Artist for Black Lives Matter exhibition, and her self curated group show, Say Her Name: Being Here and Now. She is interested in exposing discriminatory practices in academia and decolonizing art spaces
Shellyne Rodriguez is an artist and activist born and raised in the South Bronx, whose work centers on strategies of survival and its varied malleable forms. Her practice endeavors to reimagine these strategies as gestures, narratives, objects, and pictures using a variety of sources and mediums to think and to make. A decolonial practice rooted in Hip Hop Culture. Shellyne graduated with a BFA in Visual & Critical Studies From the School of Visual Arts in New York City and an MFA in Fine Art from Hunter College and has had her work and projects exhibited at El Museo del Barrio, Queens Museum, and the New Museum. Shellyne describes her activism as not exceptional, but a social responsibility, especially for artists, now more than ever.