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Nigerian artist Morenike Olusanya creates inspiring images of Black women

Written by Aisha Salaudeen, CNNLagos, Nigeria

Morenike “Renike” Olusanya spends much of her time with her iPad and touch pen sketching the people and things she finds interesting.

The Nigerian-born visual artist is particularly fond of painting black women. “I’m in Nigeria; Black women are all I see. I love to paint our culture, our fashion and our hairstyles,” she said.

Growing up in Lagos, Nigeria’s commercial hub, Olusanya has always been artistic. “Drawing was a normal thing for me to do as a child,” she explained. “My father was an artist for a short period, so I saw him draw. I saw my older brother draw too.”

Olusanya, 28, studied creative arts at the University of Lagos and worked as a graphic designer before finally taking up visual arts as a full-time job during the Covid-19 lockdown in 2020.

Nigerian artist Morenike “Renike” Olusanya. Credit: Morenike Olusanya

Bestselling book covers

Olusanya’s art exists in many forms, such as portraits, dance art and book covers. Some of them are created on canvas, but she prefers to illustrate digitally.

Combining shapes, lines and shadows on her iPad, she has designed book covers for notable women including Aminata Touré, Germany’s first black female minister, award-winning American author Coe Booth, and Jamaican-American author Nicola Yoon.

In 2020, she illustrated the cover of Yoon’s book “Instructions for Dancing”, with a sketch of a black man and a woman dancing tango.

“The book is about a woman, Evie, who starts dancing. She meets a man with whom she connects through dance,” explained the artist, adding that the cover took her two months to complete.

According to Olusanya, illustrating the cover was a “dream come true”, especially since it became an instant New York Times bestseller upon its release in June 2021. “I can proudly say that I have book covers for several created best sellers,” she added.

Olusanya's coverage for "Instructions for dancing" by bestselling author Nicola Yoon.

Olusanya’s cover for “Instructions for Dancing” by bestselling author Nicola Yoon. Credit: Morenike Olusanya

The power of storytelling

Many of Olusanya’s portraits share a message about what it’s like to be a black woman in today’s world.

“If I see a phrase, thing or person that I feel tells a story and can be carried out in a work of art or picture, I go for it,” she explained.

One of her pieces, “Aminata,” is an image of a black woman with short pink hair, wearing a sleeveless white dress that exposes her back. “The hair color was inspired by my friend, Chigozie,” said Olusanya. “At the time I found myself insecure about all the fat on my back. So I painted it, as you would see in the portrait. It was my way of accepting myself. It was also a way of showing that it’s It’s natural for black women like me to have fat on their bodies.”

That of Olusanya "Aminta."

Olusanya’s “Aminta.” Credit: Morenike Olusanya

Her dance portraits are even more personal. “It’s like a journal for me; I draw them based on what I experience,” she explained.

For example, “She will not be silent” was created during the pandemic when there was an increase in cases of violence against women. “The art was inspired by how women on social media lent their voices to support other women who faced targeted harassment,” she explained.

“It was very hard for me, but I wanted to create something powerful, something that shows that when a woman is treated unfairly, there will always be other women who try to help,” she said.

That of Olusanya "She will not be Quiet."

Olusanya’s “She will not be silent.” Credit: Morenike Olusanya

‘People can relate to what I do’

In 2021 Olusanya was included in Leading Ladies Africa’s list of 100 most inspiring women in Nigeria and in 2022 she won the Lord’s Achievers Special Recognition Award: A Lady Making Impact Through Art.

“Winning the award was very encouraging for me. It reinforced that art is my thing, and people can relate to what I do,” she said.

While Olusanya is happy to be recognized for her work, she said the highlight of her career is being commissioned to create portraits for some of the biggest brands in the world, including Hulu, Dark & ​​Lovely, Penguin Random House and Scholastic.

For the next few years she just wants to keep creating and experimenting with art. “I want to continue to collaborate with bigger brands and host exhibitions in Lagos and other countries,” she said.

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Black Panthers, punks and brutalist buildings: the micro-publisher exploring Britain’s lost past | Photography

IIn 2005, Craig Atkinson was walking around Edinburgh gesturing to the engagement ring in his pocket and wondering where to propose. When he entered the large Victorian bar Café Royal, he was swept away by its beauty. “But I thought it would end as, ‘Oh, he proposed to me in the bar,'” he says. “So, I didn’t.”

In the end he proposed on the steps in front of the Scottish National Gallery, but he couldn’t shake that bar. Atkinson was working as an artist at the time, but was tired of working on a piece for months at a time.

“I wanted something more immediate,” he recalls. “So I started making little drawings and decided to release them in little books, inspired by those National Trust leaflets you’d get when you visit a stately home.” He needed a name for his new micro-publishing company and then, when he was home in Southport, Merseyside, his thoughts turned to his travels and Café Royal Books was born.

Atkinson had done this regularly for years – publishing sketches of everyday objects or buildings – but by 2012 he had started to incorporate his own photography, with a particular eye for brutalist architecture. Then he began releasing books featuring photography by others. The first of these featured work by John Claridge, depicting everyday life in Spitalfields, Brick Lane and Plaistow, East London, in the 1960s. Other photographers such as Homer Sykes and David Levenson made contact. “It just went from there,” he says. “It has never been a hard push.”

Estate of the Nation… Hulme, Manchester, taken by Richard Davis. Photo: Picasa/Richard Davis

Since then, Atkinson has tirelessly published a new title every week. With their clear, uniform and simple covers – monochromatic in colour; titles written in a modest Sans Serif font – the books are instantly recognisable. “Function is the priority,” Atkinson says of the design.

A decade later, CRB published over 500 titles covering the Black Panthers, Notting Hill Carnival, terrace culture, music scenes, political marches and a variety of historical everyday scenarios from the streets of Hull, Bradford, Birmingham, Liverpool, London and more.

It is often the latter work, with its simple depiction of people, places and eras, that is the most transporting: the shadowy streets of Salford, children skulking in litter-strewn parks, or a chaotic bustling street unrecognizable today. . Atkinson achieved this by publishing the work of amateurs and professionals. “I welcome the photography crowd, but I’m interested in people who have nothing to do with photography,” he says. “Whether it’s an ex-miner or someone who worked in the jewelery quarter in Birmingham. I am interested in the general society.”

Monochrome set.  … a Café Royal book cover.
Monochrome set. … a Café Royal book cover. Photo: Janette Beckman / Courtesy of Cafe Royal Books

A self-funded one-man operation, CRB now takes up 60 hours of Atkinson’s week. He even had to request shorter hours in his job as a fine art teacher to keep up. “Working with photographers on multiple books, while teaching, relying on printers, maintaining the website, marketing… it’s a lot of work,” he says. “Ever since I was a kid, I liked the idea of ​​being a shopkeeper and I’ve always liked making things. So with hindsight, things fit in well.”

They retail for £6.50 each and are stocked in libraries, galleries, museums, shops and the CRB website. “These books together create an archive,” says Atkinson. “With libraries, museums and educational places taking them, it makes everything accessible, which is my ultimate goal. I want them to be affordable, democratic, usable and functional. I don’t like to publish decorative stuff or anything so expensive that most people can’t afford it. Someone once said they’re often less than the price of a London pint, so I use that as a yardstick.”

“I’m a big fan of the series,” says Janette Beckman, a photographer who began shooting for British music magazines such as Melody Maker before being lured to New York by the burgeoning hip-hop scene. She has had several books published by CRB, including works on punks, mods and hip-hop culture. “Photography has become a thing for museums and art galleries, it’s a bit elitist,” she says. “I love things like Magnum photos [the prestigious archive and cooperative] and look at iconic documentary photographers, but it turns out, thanks to Craig, that there were many unsung great photographers who produced Magnum-worthy images.”

An image of the Factory Records offices, taken from The Madchester Years 1989–91.
An image of the Factory Records offices, taken from The Madchester Years 1989–91. Photo: Richard Davis

“The photographers are so supportive and generous,” says Atkinson. “Some books then led to shows, further books and exhibitions.”

For Beckman, in the age of smooth selfies and glossy filters, the series also represents a celebration of authenticity. “They’re not arty or stylized,” she says. “There is no hair or makeup. It’s just real, ordinary people.”

For Richard Davis, who has published seven photo books with CRB, the series has been instrumental in highlighting his unearthed photographs from the 1980s when he was a student in Manchester. “I owe everything to Café Royal Books,” he says. His photographs of the since-demolished brutalist housing estate Hulme Crescent are now housed in the University of Manchester’s John Rylands Research Institute and Library.

Show me the funny… Davis' shot of Caroline Aherne.
Show me the funny… Davis’ shot of Caroline Aherne. Photo: Picasa/Richard Davis

Davis lived for free in Hulme, as did many as squatters, and furnished a dark room. It became his epicenter for creativity. “The first day I signed up for my course at Manchester Polytechnic, they advised us not to go to Hulme because of security concerns,” he says. “Fortunately, I didn’t pay any attention to that advice. Hulme was this incredibly creative environment that played outside the normal rules of society. We were all outsiders, but we were left alone and allowed space to thrive. It was exciting and motivating – it really pushed me to do more photography.” He embedded himself in the Manchester music and comedy scene, shooting bands and comics such as Steve Coogan and Caroline Aherne.

Books like these, while containing their own background of social and political unrest, capture a time in stark contrast to today, when a spiraling housing and cost-of-living crisis kills the potential for aspiring young artists to make it in big cities. work and create. “It was only later in my life that I realized how important that time was in the city,” says Davis. “Especially for creative people who work in the arts.”

The books also influence the people who appear, with many coming into contact after publication. “It’s the best feeling in the world,” says Beckman. “One of the women from my punk book got in touch and now she and her daughters are making a documentary about being a teenage punk. She came into the picture 40 years later with her friends to film them.”

Davis' shot of the Stone Roses.
In the baggy… Davis’ shot of the Stone Roses. Photo: Picasa/Richard Davis

They also fueled future creative projects. In her mod book, Beckman photographed the Islington Twins, a pair of impeccably dressed brothers who hung around the streets of North London. “I reconnected and photographed them 40 years later,” she says. “They are now homeless, but very proud and still very well dressed. It all comes from getting the work back out there. Every time I go to London I take another picture of them. Maybe in 20 years I’ll do a book with Craig about those pictures.”

The books have become popular visual reference manuals for costume designers in film and TV, and Atkinson finds himself sending copies to film directors and writers. He receives three to five new submissions a day, and his weekly release schedule is filled until the spring of 2024. He recently had to reduce a book from about 1,400 photos sent by a photographer. “But I loved it,” he says. “What better way to spend a day than looking at pictures? A few years ago I wondered if the submissions would dry up and stop, but you think about the amount of photos people must have taken… it’s endless.”

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Dawoud Bey & Carrie Mae Weems’ Exhibition Showcases Black Life In America
Visitors observe and discuss the various series in “Dawoud Bey & Carrie Mae Weems: In Dialogue” on Nov. 17 in Seattle. The exhibition is organized into five sections in which Bey and Weems’ works are grouped together thematically. (Photo by Faith Noh)

By Faith Noh

A photography exhibit that reveals a glimpse of black life and history in America opened last month at the Seattle Art Museum with “Dawoud Bey & Carrie Mae Weems: In Dialogue,” a show composed of thematic series of the two award-winning photographers.

“Black people were killed because they looked at the wrong person. I want my subjects to reclaim their right to look, to see and to be seen,” says Bey in the exhibition’s description on SAM’s website. The exhibition displays more than 140 works from various decades.

Bey and Weems first met in the 1970s in New York City. As friends and colleagues, they shared similar themes in their artwork despite their distinctive career paths. Another similarity is their prestige – Weems was inducted into the International Photography Hall of Fame in 2020 and Bey was inducted a year later.

This exhibition is the first time that their artworks have been brought together. The exhibit, organized by the Grand Rapids Art Museum, debuted earlier this year and will travel to various locations around the country through next year.

In the exhibition, many pieces revive parts of Black histories that are often neglected. For example, Weems’ “Sea Island Series” reveals the distinctive Gullah culture preserved by enslaved Africans on the coastal islands near Georgia and the Carolinas.

Visitors enter “Dawoud Bey & Carrie Mae Weems: In Dialogue” for opening night at the Seattle Art Museum in Seattle on November 17. The exhibition will be open until January 22. (Photo by Faith Noh)

On opening night, the Seattle Art Museum hosted a conversation with Bey, one of the two photographers of the exhibit. The conversation was moderated by Catharina Manchanda, a curator for the SAM.

They talked about Bey’s thought processes throughout his 40 years of photography.

“Even in your earliest photographs, you really have a very thoughtful approach to your subjects,” Manchanda said. “You approach each of these subjects with a lot of respect and dignity, and you give them this incredible presence in those photographs.”

Bey responded by describing the ethics behind his work.

“I wanted to find ways to make the process more reciprocal, more dialogic,” Bey said. “How can I address this hierarchy that does exist between photographer and subject, which usually privileges the photographer?”

For example, Bey shared how he took photos of the Black community in Harlem.

“I was aware that even though I was African American, I was still an outsider. I was still a stranger,” Bey said. “So it was important for me to spend a lot of time in that community and establish my presence in the community before making work. Also to familiarize myself with the community I haven’t spent time with since childhood.”

Bey and Manchanda also discussed the landscapes in Bey’s “Night Coming Tenderly, Black” series. The locations of these photos are part of what is considered the Underground Railroad.

“There are no people in these photos,” Manchanda said. “It’s really the landscape that embodies a history, so there’s something very beautiful about the tactility of these photographs.”

For example, “Untitled #25 (Lake Erie and Sky)” shows a solemn black-and-white landscape of restless waves and dark clouds—and nothing else.

Bey explained his intentions behind this artistic choice.

“The person actually moved from in front of the camera to behind it,” Bey said. “Because I take those pictures from the vantage point of someone moving through that landscape.

“It was trying to see that landscape through the eyes of a fugitive African-American making their way to freedom,” Bey said. “It determined the position of the camera.”

Audrey Destin, author of “The Vegetarian and Her Hunter” and “Moving Forward Optional,” attended the exhibition at its opening.

“I have a background in photography from college,” Destin said. “My major was fine art and my emphasis was black and white photography, so I was excited to see these works.”

“I loved ‘The Kitchen Table Series’ by Carrie Mae Weems. It really spoke to me as a woman as well as an artist,” said Destin. “The way each photo was centrally located at the kitchen table to tell a woman’s life story was extraordinary.”

“Untitled (Man Reading Newspaper)” is a photograph in “The Kitchen Table Series” by Weems. This series showcases the artist herself in a carefully staged photo essay that communicates the lived experiences of a woman. (Photo by Faith Noh)

Destin also shared what she will remember most about the exhibition.

“I will remember both the haunting, dark photographs of Dawoud Bey’s ‘Night Coming Tenderly, Black’ and ‘The Kitchen Table Series’ by Carrie Mae Weems for their strong ability to tell a powerful story,” said Destin.

Tickets for this exhibition are available online or at the museum. More information about the exhibition can be found on the museum website.

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There’s a Samsung Frame TV Black Friday sale happening now

While there are plenty of great Black Friday deals going on, these deals on The Samsung Frame TV are pretty great, especially given how beautiful the TV is and how well it blends in with the surroundings. There are several different sizes to choose from; you’ll get up to $1,000 off from Best Buy, depending on what size you want.

  • 43-inch Samsung The Frame 4K TV: $800, was $1,000 —
  • 50-inch Samsung The Frame 4K TV: $900, was $1,300 —
  • 55-inch Samsung The Frame 4K TV: $1,000, was $1,500 –
  • 65-inch Samsung The Frame 4K TV: $1,600, was $2,000 —
  • 75-inch Samsung The Frame 4K TV: $2,000, was $3,000 —
  • 85-inch Samsung The Frame 4K TV: $3,300, was $4,300 —

Why you should buy the Samsung Frame TV

A Samsung Frame TV hangs on a wall.

As mentioned above, there are many different sizes, but the specs remain the same, so you’ll get a great 4k TV no matter which size you choose. Picture quality is one of the essentials in a TV, and we’re happy to say that it’s excellent on The Frame, as it uses a QLED panel with quantum dot technology, essentially Samsung’s way of saying that it’s billions pixels that recreate color very well. Quantum dots also bring about Quantum HDR for better contrasts and true blacks, which we would hope for on such a premium TV. If you’re a gamer, you’ll also be happy to know that it has a 120Hz refresh rate, which is ideal for those who play on the latest consoles.

However, one of the more remarkable features is that the TV doubles as wall art, hence its name “The Frame.” Once you put it on the wall, you can scroll through dozens of images that look incredibly lifelike, and you can even choose from 1,400 different pieces with a subscription to Samsung’s Art Store if your photos aren’t good enough. Not only that, but you can change the colors of the ring to match your home and make it look like a real frame, although it has to be purchased separately. Finally, there is an easel stand that you can also buy separately to sell the feeling that it is a painting, especially since you can connect the TV through just one wire, making it look seamless.

There’s a lot more to say about The Frame TV, it’s a unique product that elevates the space it sits in, and with up to $1,000 off from Best Buy, it’s even cheaper to get your hands on. That said, be sure to check out some other Black Friday TV deals while you’re at it.

Editors’ recommendations






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Mary Jane & Black Cat Team Up In Action-Packed Cover

Mary Jane and Black Cat have often been seen as rivals for Spider-Man’s affections, but they actually make a surprisingly formidable team!


A new cover for all actions shows spider man‘s two managers, Mary Jane and Black Cat, team up. Peter Parker’s love life has always been something of a tangled web, simply because his secret superhero identity puts a lot of strain on his private life. There were several occasions when he tried (unwisely) to hide his Spider-Man identity from his latest flame, and it never went well.


Two of Spider-Man’s greatest loves are of course Mary Jane Watson and Black Cat. These two women know all of Spider-Man’s secrets; although relations between them had been frosty for years, they had recently been much more supportive of each other, aware that they had so much in common. They will soon team up again, this time in an adventure in which they struggle to escape the Hell Dimension of Limbo.

SCREENSIDE VIDEO OF THE DAY

Related: Disney’s MCU Spider-Man Makes His Spider-Verse Debut

Marvel Comics has revealed the excellent cover for November’s Mary Jane & Black Cat #3, by J. Scott Campbell. Largely disconnected from the plot, it nevertheless shows how effective a team the two women really are. The comic itself is written by Jed MacKay, with art by Vincenzo Carruto, meaning it should be an absolutely must-read for Spider-Man fans.


Mary Jane & Black Cat make a tremendously effective team

The relationship between Mary Jane and Black Cat was particularly strained back in the 90s, at a time when Mary Jane and Spider-Man were married. Mary Jane knew there was a part of Peter’s life she would never be able to share with him, simply because she didn’t have the ability to work as a vigilante. She was well aware that Black Cat was essentially her mirror image, as Felicia Hardy was part of Spider-Man’s world rather than Peter’s. However, the tension gradually eased, with Mary Jane realizing that Black Cat would (almost) always be there when her husband needed her. The two are no longer rivals in the current timeline, with the wedding written out of history, and the two women seem to bond as Spider-Man’s exes.

Strange, however, this particular Mary Jane & Black Cat miniseries will see Mary Jane actually enter Spider-Man’s world. Campbell’s cover might not suggest it, but MacKay’s plot involves Mary Jane gaining powers even as she is exposed to Madelyne Pryor’s Hell Dimension of Limbo. This time it will really be a team of spider man‘s exes

Next: Black Cat Cosplay Humiliates Spider-Man in Honor of Her Villain OriginsSource: Twitter

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Leaked shirt suggests Capitals’ Reverse Retro 2.0 design will be black Screaming Eagle jersey

After a successful launch in 2020, the NHL is teaming up with Adidas again to release version two of its Reverse Retro series this fall.

The Washington Capitals’ first RR design was based on SME Branding’s redesign of its logo in the mid-90s. The Capitals put its Screaming Eagle logo on a red jersey, combining design features old and new.

For RR 2.0, all signs point to the Washington Capitals returning to their former glory Screaglebut with a different color palette.

On Tuesday, Fanatics made an *oops* and posted “special edition” shirts that appear to feature teams’ new Reverse Retro designs and themes.

Sportslogos.net put together a collage of 27 of the 32 teams’ leaked tees.

The Capitals’ “special edition” shirt was black and featured the Screagle in powder blue Washington Capitals letters. The design combined colors from the team’s black Capitol Dome jersey and the Screagle home and away games. During the first Reverse Retro series, Fanatics-designed merchandise was designated “special edition” to distinguish it from official Adidas-manufactured Reverse Retro gear.

Back in April, professional designer and friend of the blog Lucas Daitchman tweeted that he had learned of the Capitals’ RR 2.0 design and posted a composite of what it might look like. While RMNB could not confirm, the Fanatics’ leak appears to further support Daitchman’s reporting of a black Screagle jersey.

The move makes a lot of sense. The Capitals had the best selling Reverse Retro jersey in 2020. The jerseys sold out online within minutes of their release on Shop.NHL.com. NHL players rated the draft as the fifth best in the NHL. In an RMNB poll, Capitals fans voted the Screaming Eagle as the most popular logo of the Alex Ovechkin era in DC.

The Capitals could have as many as five different jersey designs next season. Already locked into wearing their red home, white away, and blue W alts, the Capitals could also have a unique jersey for their February 2023 Stadium Series game against the Carolina Hurricanes.

Start saving now!

Please note: The header photo is a manipulated photo of a rookie-season Alex Ovechkin replica jersey.

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AT&T Dream In Black Honors Black Excellence At Essence Festival Of Culture 2022

The dust is gone, but the natural heights of the Essence Festival of Culture remain. From June 30th to July 3rd, the long-awaited Essence Festival is back in New Orleans, Louisiana.

The Essence Festival of Culture, the world’s largest black culture and music festival, brings together the world’s largest gathering of black women of all levels in a safe environment: sisterhood, personal growth, wealth creation, civil involvement, And community leadership.

The festival promotes black wherever I go, achievement, honor, friendship, networking, and of course much fun, demonstrating the economic and social need for such culturally significant events.

With the introduction of Afrotropolis 3.0 activation by AT & T Dream in Black, festival attendees are now able to experience a fusion of art, technology and culture. During the weekend, AT & T Dream in Black offered a variety of programming and unforgettable experiences with a great line of artists.

Launched in 2018, AT & T Dream in Black’s year-round programming is fascinating and thought-provoking, with the support of key cultural influencers known as Black Future Makers, who are influencing both inside and outside the community. Integrate black culture and technology at the event.

AT & T sent a VIP invitation to For (bes) The Culture to participate in the activation of the Essence Festival, allowing them to directly witness the joy and enchantment of blacks.

Corey Anthony, Senior Vice President and Chief Diversity and Development Officer at AT & T, said:

This year, AT & T sent an executive group to NOLA to participate directly in the celebration. They organized several activations to inform attendees about the greater prospects that result from connecting to the network and growing.

  • Dream tree Interactive activation presented by AT & T Fiber connects festival attendees and remote supporters with shared messages of happiness and leverages fiber speed and connectivity to create a symbolic and sparkling reflection of community and connectivity. I entered the data into the tree as. It was inspired by the majestic baobab, Africa’s iconic tree of life.
  • Essence Tech Summit Participants were given the opportunity to use the AT & T Dream in Black, NFT video booth with AT & T 5G to create their own Dreamin Black NFT art by New Orleans-based artist Jade Meyers.
  • To Essence Wealth & Power And that Essence Tech Summit A panel discussion between Stage, AT & T executives Michelle Jordan and Angela Baskerville, Romeo Miller, Lori Harvey, and Laramilan covered a variety of topics such as wealth expansion, representative improvement, and NFTs.
  • Provided by AT & T AT & T business hours For small business owners directly at the AT & T booth in the Essence Marketplace shop to support the company’s purpose of granting access to opportunities to the Black and Afloratina communities.
  • AT & T 5G brand ambassadors Coco Jones, Evony Davis, Laginley and Court & Rex attend behind-the-scenes events with celebrity guests such as Grammy-winning artists Ashanti, Terence J, Tisha Campbell and Terrell Grice. did.

According to Michel Jordan, Vice President of Talent & Leadership Development at AT & T, AT & T’s leadership and talent development teams have recently merged. This move was made to ensure that their programming for different talents was influential.

“As a black woman, I have endured a mile of hardship myself. I do not apologize for wanting to play my part in accelerating the progress of the people behind me. Participating in events like the Essence Festival makes it possible for me to fully understand the culture in terms of both current change and future development, “explains Jordan.

Jordan continues to take pride in AT & T’s continued support for the Essence Festival and its value in the industry.

“It’s not just about investing in the city of New Orleans and its surroundings. Its pride is what people bring back, which increases employee involvement. This allows businesses to recognize and appreciate black female employees. Then, as a result of investing in this brand, we take pride in returning to the community, “says Jordan.

Colored races are often at the back end of new technologies in communities left out of society. AT & T is trying to stay ahead of the curve by introducing black culture makers who are immersed in the tech industry, dispelling the idea that technology is for everyone except blacks.

According to Angela Baskerville, vice president of corporate systems and human resources development at AT & T, NFTs have many mysterious dynamics. The main goal of the Essence Tech Summit was to uncover new technologies while demonstrating cultural influence.

As a technician and a black woman, Baskerville was pleased to have the opportunity to meet a young black woman and discuss her career opportunities in the tech field.

“I spend a lot of time refuting the idea that technology is exclusively for white men. Essence helped me advance the validation of that message. The Essence Men’s Summit was a highlight for me. Men It must be counted among those who support and defend the rights. In my opinion, it was as important as the Technology Summit, “says Baskerville.

Multi-platinum recording artists Ashanti and Baskerville talked about her latest business venture in the Metaverse in a panel discussion on “AT & T Dream in Black presents NFT’s: The New Face of Technology.”

The “stupid” singer has partnered with tech entrepreneur Janice Taylor to launch EQExchange, one of Silicon Valley’s first female-owned Web3 companies.

“I think it makes sense now to own a master, become independent, and own your own record label from an artist who has signed a major label. Discover the value of ownership in a difficult way. I want to be. A vessel to educate and demonstrate why ownership is so important to people. I own everything I create, including music, dance, beauty, hair tutorials, etc. As a result, we need to be rewarded, especially to help spread the story among black women, “says Ashanti.

Thanks to Master’s acquisition, Ashanti has re-recorded the Grammy-winning self-titled album 20 years after its first release. To commemorate the 20th anniversary of her album, she launched a non-fungible token (NFT) line on EQ Exchange in April 2022.

Ashanti played a variety of hits on the AT & T Dreamin Black stage throughout the weekend, in addition to the book that signed the children’s book My Name Is A Story. She was honored on Sunday at the Black Excellence Branch founded by Treme Thomas at the Treme Market Branch in New Orleans. During the brunch, she and Thomas had a frank chat about the lessons of her life she learned throughout her career and her future.

..

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Opinion: My life as an artist began in Tijuana selling black velvet paintings and border kitsch

Artenstein Filmmaker and professor. He lives in the oceanside.

The black velvet painting sent me to film school, along with a cowboy jacket and a handmade leather bag — all the best-selling items in my father’s antique store at Avenida Revolución. I loved art and was a kid with a picture fixed on the wall of an elementary school classroom. This made me very proud and helped me understand what I wanted to be when I grew up.

I helped sell to American tourists at my dad’s store (and learned English in the process). The 1960s and 1970s were the golden age of black velvet painting. Idyllic Mexican landscapes, cow fighting scenes, Aztec warriors sacrificing Aztec maidens, rock’n’roll legends such as Jimi Hendrix, Jim Morrison, Janis Joplin, and among them all, Elvis Presley Was rolling his cheeks with tears.

As the oldest kid, I always felt expected to take over the store, but one day my dad took an art class with Tarasco, Tijuana’s best black velvet painter. I was surprised to hear that. Tarasco was known for his photorealistic rendition of Playmates like the classic Gwen Wong, so I’m completely hoping to show up in his studio and start working from the Playboy Centerfold. I did.

I never went near those playboys. Tarasco — whose real name is historically important Fidelcortes — sat me on a stool, holding a pencil and drawing me from the white stucco of a Parisian bust that was dramatically illuminated from one side. Before picking up the brush, I first learned about lines and shadows, and how to render three-dimensional shapes.

This was the method of Academia de San Carlos learned by Diego Rivera, David Alfaro Siqueiros, Jose Clemente Orosco, and my beloved Maestro. Recalling his years as an art student in Mexico City, he has a collection of old leather volumes carved from old masters obtained at a flea market in Mexico City, from Albrecht Durer to Jose Guadalu Peposada. The old downtown that showed me.

When I started making movies, Tarasco magically appeared on the corner of Quarta Street and Avenida Revolution. There, I was trying to shoot a night scene with a flood lamp on a homemade stand made by Gustavo Basquez, the brother of Super Ohero, and Gustabo’s dad’s metal store. .. Tarasco squints, makes some adjustments, and offers instant lessons on the use of keys, fills, and backlights to create mood and three-dimensionality in celluloid.

We were high school students at the time, but the two internationally recognized Tijuana artists at the time were the painter and installation artist Marta Palau and the post-Surrealist painter Benjamin Serrano. Juan Angel Castillo, one of Baja California’s most important landscape painters, and Miguel Nahera, a famous villager, were still working on black velvet at the time.

After graduating from the California Institute of the Arts, my wife Jude and I settled in San Diego, creating documentary and indie features inspired by the cultural dynamics of the border region. He also attended the Border Arts Workshop / Taller de Arte Fronterizo with friends such as David Ávalos, Víctor Ochoa, Emily Hicks, Michael Schnorr, Robert Sánchez and Guillermo Gómez Peña. Our goal was to start collaborating with artists and writers across borders, such as Felipair Mada, Hugo Sanchez, Maria Elana, and Marco Vinicio, and to incorporate border art across borders.

The workshop included border kitsch, from Parisian ET and Bart Simpson plaster to, as you might expect, a black velvet painting. The typical crying Elvis has become part of the shooting set for Gomespena’s groundbreaking performance “Border Brujo”. Later, he became obsessed with the medium of black velvet and commissioned an original piece of black velvet from a Tijuana artist (maquiladora art, we call it), widely known as the “Black Velvet Hall of Fame”. I started to exhibit.

Since the days of the Border Arts Workshop / Taller de Arte Fronterizo, art has exploded in the Tijuana-San Diego region, with many of its visual artists internationally recognized and exhibited and acquired by museums and institutions around the world. I’m seeing. Importantly, the Whitney Museum of American Art in New York City recently announced the participation of two Tifanense artists, Arida Cervantes and Andrew Roberts, at the 2022 Biennale.

Over the years, this border area has provided me with a magnificent canvas (or black velvet roll) for artistic expression. My latest documentary, Harry Crosby’s Journey, a legendary photographer and historian on the Baja California Peninsula, premiered at Centro Cultural Tijuana on July 20th and at the San Diego History Center on July 28th. , Then it will be aired on PBS. This fall.

¡ Gracias Tijuanay feliz cumpleaños!

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Black and white room ideas: 12 inspiring two-tone schemes

Some people consider the black and white room idea an easy choice, but with the right treatment, this classic two-tone pairing can make a real impact and be used to create countless styles and looks.

Used together in sheer form, black and white can be really appealing and great for creating a dramatic and sophisticated feel, or, when subdued with a range of grey tones, black and white can be used to create a laid-back monochromatic scheme. Or , a black and white room can be a great neutral base for layering colorful furniture, patterned accessories and artwork.

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Behind the Art: Why James Abbott McNeill Whistler’s ‘Arrangement in Grey and Black No. 1’ became a symbol of motherhood

Gray and black arrangement No.1 Or better known “Mother of Whistler” was I drew By the American-born artist James Abbott McNeill in 1871.The painting was done using oil canvas It is on display at the Musée d’Orsay in Paris, which was purchased by the French state in 1891. It is currently said to be worth more than $ 36 million. Measured at 56.8 inches x 64.2 inches, Whistler’s mother It is almost life-sized in the frame.The painting has become an American icon over time, also known as Victorian Mona Lisa.. But why was this painting so symbolic and how did it become a symbol of motherhood?

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Inside story of the sitter

It is a well-known fact that the sitter of the painting is the artist’s mother, Anna Matilda McNeill. After the death of her husband, she began to sign James a letter to “Your Suffering Widow’s Mother,” and she wore black for the rest of her life. In 1864 Anna decided to live with her son. London And it was then that she became his housekeeper, agent, personal assistant, and religious leader. It is said that the artist relied heavily on her mother and wanted to paint her mother for some time. One day, when his 15-year-old model, the daughter of a member of parliament, Maggie Grahame, was unable to appear in her portrait, Whistler asked her mother to pose for that portrait. His mother initially stood like a statue for hours, but she had difficulty maintaining that pose because of her age and she wanted to sit comfortably. In this way, paintings that symbolize motherhood around the world have emerged. The painting depicts her mother sitting in a chair, facing her left, with her feet on her chair.The background shows a beautifully patterned curtain using colour Blue and black. You can see the artist’s taste for Japanese art, which aims to pursue harmony and simplicity of the surroundings.

Symbol of motherhood

Whistler’s mother is shown holding a handkerchief and looks very calm and calm because she doesn’t stare at anything. According to Whistler, the subject of painting should only be seen as an excuse for various styles of aestheticism. He once said: “For me, it’s an interesting photo of my mother. But can or should the public care about the identity of the portrait?”

Even though Whistler wanted the painting to be seen by the world, everyone liked the mother and her expression: motherhood and holiness. When she toured America in the 1930s, she became the epitome of motherhood.Citizens’ groups in Pennsylvania, USA, even built monuments Bronze statue The figure of the mother engraved with the words, “Mother is the most sacred thing in life.” The US Post Office has prepared a 3-cent stamp to commemorate American mothers with the slogan “To commemorate American mothers and to honor American mothers.” In 1915, the painting was adopted by the Canadian Rangers 199th Overseas Battalion in Ireland, encouraging volunteers to participate in World War I. The poster said, “Fight for her,” appealing to her motherhood and family values. time. It also instilled a feeling of protection and instigated the youth to fight to protect the holy mother who was sitting at home and had already lost much in her life.

The picture depicts the mother sitting in a chair, facing left, with her feet on the chair. The background shows a beautifully patterned curtain in blue and black colors. (Photo: Wikimedia Commons)

Painting style

The style of painting is not only Japanese art It’s not just a culture, it’s pretty monochromatic. Anna’s black mourning dress dominates the color scheme and is a major part of the composition of the painting. This left a lot of free space in the lower right section of the canvas.Some experts say Whistler chose to paint the mother’s sitting pose for inspiration from the statue. Agrippina At CapitoLini Museum Sculpture of Napoleon Bonaparte’s mother in Chatsworth, Rome and Antonio Canova.Picture title Gray and black arrangement It certainly defines the style of the painting. Most of the canvas is dominated by gray and black, using bright colors to accentuate the mother’s fragile body.

Artists James Abbott McNeal, James Abbott McNeill's Paintings, James Abbott McNeal's Gray and Black Arrangement No. 1, Wisler's Mother, Whisler's Mother's Portrait, Painting, Artwork, India Express News In 1915, this painting was adopted by the Canadian Rangers 199th Overseas Battalion of Ireland to encourage volunteers to participate in World War I. The poster says, “Fight for her.” (Photo: flickr.com)

Timeless icon

Few people know this, but when Whistler submitted the painting to the Royal Academy, the members of the academy were unable to wrap themselves in the perceived rigor of the painting. They initially refused to do so, but later reconsidered and accepted it, thanks to the supervision of Whistler’s ally William Bozar. National Museum of Art at the time. The academy decided to hang the painting on the wall, but chose a very poor place to hide it from the general public. This hurt Whistler’s emotions. He vowed not to submit his work to the academy again. In 1891, the prestigious Museum of Art in Paris, the Luxembourg Museum of Art, purchased this work and improved his reputation overnight.

Over the years, this painting has been used in many pop culture references, including several episodes. The SimpsonsDon DeLillo’s novel underworld; Episode of Underdog Anime series; and much more. The message of motherhood is understood and respected by all cultures around the world. This picture has a strong message about family values.The Artist It captures the love and dedication of mothers who do everything to help and support their children. Artwork has always been a cultural American icon.

next Behind the art: why Starry night1889, very famous by Vincent van Gogh?

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