Print Study Room: The Artist Interview

Artist Miguel Aragón, a tanned, Latino man, sits across from two Skidmore students during an interview in a gallery space.

Two light-skinned females smile next to the Black female artist Renee Cox, also smiling.

Artist Geoffrey Chadsey, a light-skinned, male, sits on a chair across from two light-skinned students, also sitting in chairs. A large framed artwork hangs on a wall behind them.

Two young, light skinned women sit in chairs across from artist Lari Pittman, a light-skinned male, also sitting in a chair. A huge and colorful painting spans the entire wall behind them.

‘The Artist Interview’ AHDS 324
with Dayton Director and Professor of Liberal Arts Ian Berry

This course explores oral histories as a form of original art historical research and offers students the opportunity to lead interviews with guest artists. Aspects of biography, process, materials and meanings will be discussed. What happens to an artwork’s meaning once it leaves the studio? How do viewers influence and create an artwork’s meaning? Students research artists and artworks in teams and prepare questions for the artists. Artist interviews are recorded, edited and added to the Museum’s archive.

Pandemic and Protest: Responses to Now

A three-week section called Pandemic and Protest: Responses to Now will begin the fall 2020 course. Each class explores artwork made during the pandemic and focuses on new acquisitions and commissions by the Tang Museum.

September 2
Pandemic and Protest: Responses to Now Part I
Interview with artist Isaac Scott

September 9
Pandemic and Protest: Responses to Now Part II
Interview with artist Danielle St. Laurent

September 16
Pandemic and Protest: Responses to Now Part III
Interview with artists Nicole Cherubini and Laleh Khorramian

Anchor name: Isaac Scott

Isaac Scott

Isaac Scott is an artist whose recent work includes photographs that capture protests in Philadelphia, Pennsylvania and a monumental public sculpture in Madison, Wisconsin. The Tang has commissioned Scott to produce a set of prints that will become part of the Museum’s collection.

A black and white photograph of protesters lying down on concrete stairs.

Outside the Philadelphia Museum of Art, protesters lay down for eight minutes and forty-six seconds, the amount of time that a Minneapolis police officer, Derek Chauvin, pressed his knee on George Floyd’s neck. (caption from The New Yorker)

A black and white photograph of protestors climbing over an iron fence in front of a colonial-stye building towards a group of protestors on the other side. A white fog curls up behind the protestors climbing the fence.

When police officers fired rubber bullets and tear gas into a crowd marching down Interstate 676, protesters tried to escape over a nearby fence. “Your whole face feels like it’s on fire,” Scott said. (caption from The New Yorker)

A black and white photograph of three, young, dark-skinned men standing side by side in front of a skyscraper. The two men on the ends hold megaphones.

Experienced organizers have been joined on the streets by first-time protesters. On one hot day, a leader paused every thirty minutes to urge marchers to get food and water. “There was a real sense of community,” Scott said. (caption from The New Yorker)

A young, tanned woman wearing a black mask speaks into a microphone in front of a brick building.

“On 07/04/20 the Black Trans Assembly for Abolition organized a march from Front St. and Chestnut St. to the Liberty Bell. The march was lead and organized by Black Trans women and men for Black Trans Lives and Liberation.”

A black and white photograph of a crowd of protestors centered around a young, dark-skinned female wearing a mask, holding a sign and raising her right fist in the air.

“Protest by public defenders on 06/08/20. These shots were taken at the end of the protest when everyone took a knee and moment of silence for 8:46 in honor of George Floyd. At the end of the moment of silence an 11 yr old boy preached to the crowd about the injustices he is witnessing. The emotions were raw and unfiltered. It breaks my heart to see such a young person already so traumatized by this world”

A black and white photograph of two young, dark-skinned people, one male and one female, wearing white masks standing next to each other in front of an urban landscape.

“06/19/20 Juneteenth”

A black and white photograph of a huge crowd of protestors standing facing a cityscape.

Scott photographed the crowd from the top of the museum’s steps. “We only get certain moments in history where there’s an opportunity to make real change,” he said. “I hope we take advantage of this moment while we have it.” (caption from The New Yorker)

A black and white photograph of a young, Black girl dancing surrounded by a circle of people looking on and cheering.

An estimated hundred thousand protesters marched through Philadelphia to the Museum of Art, where a group formed around a child break-dancing. The celebratory spirit was part of what Scott called “a historic day.” (caption from The New Yorker)

A black and white photograph of a police car on fire in front of a wall with a mural.

A police car burned at an intersection in the center of Philadelphia. “I’ve been to plenty of protests in my life,” Scott said. “But this one was completely different. The emotions were so raw.” (caption from The New Yorker)

A black and white photograph of light-skinned policemen in black gear, wearing face shields, and carrying batons lined up facing a group of protestors.

As a team of police in riot gear prepared to charge into a crowd, several white protesters locked arms in front of them. Scott said this is “one of the ways that white people can use their privilege to defend people of color.” (caption from The New Yorker)

Anchor name: St Laurent

Danielle St. Laurent

Photographer Danielle St. Laurent’s new series Family Portraits in Time Of COVID-19 was made in her neighborhood of Maplewood, New Jersey, during the current quarantine. The portfolio includes stories of each family’s experience and will become part of the Tang’s collection.

See more from this series on Daniel Cooney Fine Art’s website
“Family Life, Through A New Lens"—Refinery 29
Follow Danielle St. Laurent on Instagram

A photograph of a red framed window. A light-skinned mother and two light-skinned children look out at the viewer from behind the window pane.

Danielle St. Laurent, The Weiss Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a tanned family, one adult female, one adult male, and two children look out from a window.

Danielle St. Laurent, The Austin Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a dark-skinned family, one adult male, one adult female, and one child, look out of a white framed window on a tan house.

Danielle St. Laurent, The Lebrun Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a window with a family of four sitting behind it looking out.

Danielle St. Laurent, The Oliverio / Kwon Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A color photograph of the side of a tan house with an open window and a family of four looking out.

Danielle St. Laurent, The Bhandari/Johnson Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a light-skinned woman and child look out a partially open window framed in white.

Danielle St. Laurent, The Siomkos Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of two tanned children, one female and one male, with an older man standing behind them looking out a window with a reflection of a house and tree on it.

Danielle St. Laurent, The Sergent Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a dark-skinned family, an adult male, adult female, and three boys, with a black and white dog looking out a white bay window.

Danielle St. Laurent, The Bradley Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a light-skinned family, one adult male and adult female, and two children, look out from a white-framed window.

Danielle St. Laurent, The Scheideler Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

A photograph of a light-skinned family, two adult males wearing glasses and two boys, looking out a window with the reflection of a tree on it.

Danielle St. Laurent, The Canecchia Family, 2020, from the portfolio Family Portraits In The Time Of COVID-19

Nicole Cherubini and Laleh Khorramian

MASKS4PEOPLE was cofounded by Kristen Dodge and Laleh Khorramian on March 12, 2020 in response to the developing crisis of COVID-19. The Tang Museum commissioned the group to create new masks in collaboration with artist Nicole Cherubini and her current mezzanine exhibition. Working with a team of artists based in the Hudson Valley, the project reflects both pandemic and protest.

A masked, young, Black woman holds up a green poster printed with pink stars and lighter green text "And there are so many silences to be broken."

Love is Profoundly Political: Screen Printing at the Tang, an event organized by Tang Student Advisory Council, Tang Teaching Museum, 2020, photo by Cindy Schultz

Numerous, colorful, handmade masks piled on a white tiled floor.

Masks made by MASKS4PEOPLE and Nicole Cherubini in Nicole Cherubini: Shaking the Trees, Tang Teaching Museum, 2020

A tanned, young woman with dark hair wears a bright pink shirt and a colorful mask.

Cassie Bond ’22 wears a mask made by MASKS4PEOPLE and Nicole Cherubini, photo by Margot Hahn ’21

Numerous, colorful, homemade patterned masks laid out. The center mask displays a quote that states, "Nothing can be changed until it is faced. James Baldwin."

Masks made by MASKS4PEOPLE and Nicole Cherubini in Nicole Cherubini: Shaking the Trees, Tang Teaching Museum, 2020

Margot Hahn ’21 wears a mask made by MASKS4PEOPLE and Nicole Cherubini, photo by Cassie Bond ’22

A dark-skinned young woman stands facing the camera wearing a colorful mask.

Maria Staack ’22 wears a mask made by MASKS4PEOPLE and Nicole Cherubini

Numerous, colorful, homemade masks piled on a white tiled floor with sections of quotes visible printed on the masks.

Masks made by MASKS4PEOPLE and Nicole Cherubini in Nicole Cherubini: Shaking the Trees, Tang Teaching Museum, 2020

A student, with her back to us, reaches up to hang a poster to dry on a clothesline. The poster most visible reads "Love is profoundly political. bell hooks".

Love is Profoundly Political: Screen Printing at the Tang, an event organized by Tang Student Advisory Council, Tang Teaching Museum, 2020, photo by Cindy Schultz

Multiple rows of colorful posters hang on clotheslines.

Love is Profoundly Political: Screen Printing at the Tang, an event organized by Tang Student Advisory Council, Tang Teaching Museum, 2020, photo by Cindy Schultz

Numerous, colorful, homemade patterned masks piled on a white tiled floor under green leaves.

Masks made by MASKS4PEOPLE and Nicole Cherubini in Nicole Cherubini: Shaking the Trees, Tang Teaching Museum, 2020

Never Done Artist Conversations

Nine weeks of student-led interviews with women artists—all included in the exhibition Never Done: 100 Years of Women in Politics and Beyond.

September 23
Interview 1 with artist Stephanie Syjuco
Aki Davis ’23 and Evan Little ’22

September 30
Interview 2 with artist Alisa Sikelianos-Carter
Naima Nigh ’23 and Maria Staack ’22

October 7
Interview 3 with artist Diane Burko
Taylor Jaskula ’21 and Ciara McDonald ’23

October 14
Interview 4 with artist Sonya Clark
Jane Cole ’21 and Lily Warshaw ’21

October 21
Interview 5 with artist Saya Woolfalk
Paige Meade ’22 and Chloe Walker ’21

October 28
Interview 6 with artist Barbara Takenaga
Malchijah Hoskins ’22 and Reva Preven ’21

November 4
Interview 7 with artist Rina Banerjee
Sofie Benson ’22 and Nathan Bloom ’21

November 11
Interview 8 with artist Marie Watt
Lydia Doban ’21 and Renaldo Payne ’22

November 18
Interview 9 with artist Tschabalala Self
Malchijah Hoskins ’22 and KeAnna Nelson ’22

Anchor name: Stephanie Syjuco

Stephanie Syjuco

Stephanie Syjuco is an artist who uses photography, textiles, and material culture to create works that interrogate national belonging, civic engagement, and radical responsibility. Syjuco was born in Manila, Philippines, in 1974 and lives and works in San Francisco.

A black and white photograph of a young, Asian women holding a black bundle on her head wearing traditional dress in front of an abstract background.

Stephanie Syjuco, Cargo Cults (Head Bundle), 2016, archival pigment print, 20 x 15 inches, courtesy of the artist, Catharine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York

A large, black, fabric banner hanging from the ceiling with white, printed text, "I AM AN AMERICAN."

Stephanie Syjuco, I AM AN…, 2017, sewn cotton panel on moveable ceiling track, 9 x 24 feet, RYAN LEE Gallery

A small, old-fashioned, wooden sled with a gray folded blanket and silver flashlight strapped to the back with two white straps.

Stephanie Syjuco, Temporal Aggregate/ Social Configuration (Borrowed Beuys), 2009, various objects shipped, smuggled, and hand-delivered

Multiple papers with black and white screenprints scattered on a concrete floor with stacks of wooden boxes and bottles in the background.

Installation view, Cargo Cult: Object Agents, 2013, Bemis Center for the Contemporary Arts

A group of people stretching their arms over their heads sitting on wooden bleachers facing a projection on a wall with a blue banner that says "HEAVY" next to a white wall with a large, drawn map.

Hour-long performative Powerpoint lecture and exercise routine addressing capitalism and objecthood led by Stephanie Syjuco at the Berkeley Art Museum

Anchor name: Alisa Sikelianos Carter

An abstract shape made-up of multiple images of braided, woven Black and Brown hair.

Alisa Sikelianos-Carter, Africosmos, 2020, hand-cut collage on paper, 44 x 44 inches

An abstract blue painting covered in feminine forms with afros and silver circles around their ankles swirling across the canvas.

Alisa Sikelianos-Carter, Looking Forward, and Upward, and Backward, and Through; Black Into Blue, Me Onto You, 2020, acrylic medium, abalone shell, and glitter on archival paper, 30 x 23 inches

A symmetrical, abstract shape comprised of various images of braided and woven Black and Brown hair with black glitter dusted across the center.

Alisa Sikelianos-Carter, Galaxy Flyer, 2017, archival inkjet print and glitter, 22.75 x 13 inches

A black abstract painting made of overlapping, dark, feminine shapes circled around a shimmering light blue center.

Alisa Sikelianos-Carter, Never Let Me Go, 2020, acrylic medium, black mica flakes, and glitter on archival paper, 29.5 x 41.5 inches

A brown, feminine figure with a head made of different images of braided Black hair and a glittering black oval on her back surrounded by golden constellations on a beige background.

Alisa Sikelianos-Carter, We Are the Ones We Have Been Waiting For, 2017, ink, gouache, acrylic medium, powdered pigment, micaceous oxide, gold foil, liquid gold leaf, interference pigment, glitter, gold coarse mica, pink fine mica, and collage on archival paper, 8 x 3.5 feet

Anchor name: Diane Burko

Diane Burko

Diane Burko, a Skidmore College graduate of the class of 1966, is an artist and environmental activist based in Philadelphia, Pennsylvania. Her work is a collaboration of aesthetics and information in order to raise awareness about the detrimental effects of human created climate change in the world.

Two paintings side-by-side of the same mountain-scape, one painting depicts a snowy, gray, dull landscape while the other depicts a blue, spring landscape.

Diane Burko, Grinnell North Moraine 1, 2 (Grinnell North Moraine, 1922, after Elrod Toole / Grinnell North Moraine, 2008, after Lisa McKeon), 2010, oil on canvas (diptych), 72 x 84 inches (overall), Tang Teaching Museum, gift of Michael I Basta, 2015.25a-b⁠ ⁠

A blue, green, and white abstract, aerial image of rivers carved throughout a landscape.

Diane Burko, World Map Series: From Glaciers to Reefs

A blue, green, yellow, and red abstract, aerial map-like image.

Diane Burko, World Map Series: From Glaciers to Reefs

A map of water around Indonesia covered in yellow, blue, and black paint with the text "85 PERCENT OF REEFS IN THE CORAL TRIANGLE ARE THREATENED..."

Diane Burko, CORAL TRIANGLE, 2020, mixed media on canvas, 72 x 204 inches

A small blue and black image of a world map above a small image of a landscape covered in orange paint next to a large image of ice floating in a river above a statistical graph.

Diane Burko, SUMMER HEAT 1 & 2, 2020, mixed media on canvas, 84 x 162 inches

A white map of the United States covered in splashes of red, orange, blue, black, yellow, and purple paint.

Diane Burko, CORONA SERIES, 2020, mixed media, 42 x 164 inches

Numerous abstract, black-outlined circles above a white line graph with three lines covered in splashes of blue and orange paint.

Diane Burko, JULY, 2020, 2020, mixed media on canvas, 60 x 60 inches

Anchor name: Sonya Clark

Sonya Clark

Sonya Clark is a fiber artist who employs craft and everyday objects to explore meaning, value, and stories assigned to material belongings through culture. She was born in Washington, D.C. and is of Afro-Caribbean descent. She often references these components of her identity in her work, along with the social issues we are facing as a country and a community. Clark is currently a professor of art at Amherst College.

A photograph of a dark-skinned woman with her black hair braided tightly in swirls on her head facing a red wall with another dark-skinned woman leaning against it facing the camera.

Sonya Clark, Hair Craft Project with Chaunda, 2014, pigment print on archival paper, 29 x 29 inches, courtesy of Goya Contemporary Gallery, Baltimore

Various photographs in a four x three grid of dark-skinned women with intricate, braided or afro hairstyles facing a colored wall with a dark-skinned woman leaning against it.

Sonya Clark, Hair Craft Project, 2014, pigment print on archival paper, 29 x 29 inches each, edition of 10

An unraveling Confederate flag hung on a white wall next to a shelf with balls of red, white, and blue fabric.

Sonya Clark, Unraveling and Unraveled, 2015, Confederate flags, cotton

A Confederate flag with black hair woven into it in the shape of the American flag.

Sonya Clark, Black Hair Flag, 2010, cloth and thread

A black and white portrait of a young, Black woman made of small grids.

Sonya Clark, Madame CJ Walker, 2008, combs

Sonya Clark, Madame CJ Walker (detail), 2008, combs

A five dollar bill with an afro of black thread overlaying Abraham Lincoln's head.

Sonya Clark, Afro Abe II, 2010, paper, thread

A woven cream textile with three red stripes on either end laying on a slanted wooden platform.

Installation view of Sonya Clark: Monumental Cloth, The Flag We Should Know at the Fabric Workshop and Museum

Anchor name: Saya Woolfalk

Saya Woolfalk

Saya Woolfalk is a mixed-media artist based in New York City. She uses science fiction and fantasy to create the multidimensional world of the Empathics, an imagined society of human-plant hybrids. Her work explores the utopian possibilities of multiculturalism, intersectionality, and transsexual societies.

On a black background a sculptural figure stands with a horned mask on. It points upward with index finger of right hand. It’s robed and around it are floral patterns and symbols in bright green, purple, orange, yellow, and pink.

Saya Woolfalk, The Four Virtues (Prudence), 2017, archival inkjet pigment print on paper, 44 x 34 inches, ©Saya Woolfalk, courtesy Leslie Tonkonow Artworks + Projects, New York

Colorful, anatomical drawings of human bodies combined with plants on a black background.

Saya Woolfalk, No Place: No Placean Anatomy, close up view, silkscreen digital print and gauche on paper, 20 x 26 inches, University at Buffalo Art Gallery, Center for the Arts, 2009

A person with a painted blue face in a white, plant-like costume looks down on a similar person lying under a blue blanket with clouds and a flower embroidered on it.

Saya Woolfalk, The Empathics, close up view, Montclair Art Museum, photo credit: John Groo, 2012

Colorful, glowing screens flank billboards and Broadway posters along a city skyline in New York's Times Square at night.

Saya Woolfalk, ChimaCloud, Midnight Moment, Times Square, photo credit: Ka-Man Tse for @TSqArts, 2016

Two, abstractly painted, humanoid sculptures flank another humanoid sculpture wearing multiple, woven blankets and a hood of white petals surrounded by decorative clay vessels and woven tree branches.

Saya Woolfalk, The Empathics, installation shot of the show, Montclair Art Museum, photo credit: John Groo, 2012

Three similarly dressed figures in blue, cloud pants and petal capes surround another figure lying on a table. Four, petal-like headdresses hang on a blue wall and a TV screen depicting another figure rests at the end of the table.

Saya Woolfalk, The Empathics, installation shot of the show, Montclair Art Museum, photo credit: Peter Jacobs, 2012

A humanoid figure in a colorful, petal-like robe and star-like headdress sits crosslegged on a blue platform flanked by two gray stands holding drawings of similar figures as the seated one.

Saya Woolfalk, ChimaTEK: Hybridization Visualization System, 2015, mixed media installation with video, Leslie Tonkonow Artworks + Projects, New York

Anchor name: Barbara Takenaga

A mandala painted with blues, whites, and yellows, composed of three circular layers of dots and ripples. The outer layer begins a gradient from dark to light, with yellow and blue dots woven into the center.

Barbara Takenaga, Blue Silvergreen Wheel, 2007, acrylic on wood panel, 42 x 36 inches, Tang Teaching Museum, gift of Michael O. Gold and Sirje Helder Gold in memory of their beloved son Maximilian Arnold Gold, 2020.22.1

Yellow-outlined, navy scales turn into black, irregular latticework down the center of the painting over a splash of blue and white like a wave, surrounded by a shifting, three-dimensional black and blue grid.

Barbara Takenaga, Blue (A), 2019, acrylic on linen, 60 x 70 inches

Gold, dotted, s-shaped lines swirl outward from a central point creating sections of various sized circles that are white, orange, red, green, and gray on a black background.

Barbara Takenaga, Gold + Red, 2005, acrylic on wood panel, 42 x 36 inches

A cascade of green and white flights, like shooting stars, falls from the top of the image towards a white-speckled mist on a black background.

Barbara Takenaga, Night Painting (JFM), 2016, acrylic on linen, 60 x 70 inches

Strings of small, white spheres on a dark gray background stretch from the bottom of the image, growing smaller in the distance, meeting with similar strings on a blue background coming from the top of the image at a distant, bright, white point.

Barbara Takenaga, Nebraska Painting, 2010, acrylic on canvas, 54 x 45 inches

A row of large windows along the bottom of a brick building with strings of white spheres creating starburst patters within the lower panes of each window.

Barbara Takenaga, Nebraska, 2015, installation view, MASS MoCA, North Adams, MA

Rina Banerjee

Rina Banerjee was born in 1963 in Kolkata, India and now lives and works in New York City. Pulling from her multinational and immigrant background she creates works focused on ethnicity, race and history. She uses globally sourced materials, textiles and domestic objects to create sculptures. Her drawings use representational imagery and cultural styles to tell stories of anthropology, mythology, and shared histories.

Rina Banerjee, Mother gathered Three and no more dirty stones, tossed them to sky that could break what had hardened her ground and without frown or flirt of flower father like grease or butter slipped aside to free from forty and some more grown men who held her as housewife like plant life with Three or no more daughters, 2017, acrylic and collage on wood panel, 79 x 39 inches, courtesy of the artist and Galerie Nathalie Obadia, Paris/Brussels

A carved, brown figure stands under a metal domed cage in the center of numerous outstretched arms with brown glass bottles.

Rina Banerjee, Lady of Commerce … (detail), hand painted, leaded glass chandelier and mixed media, 10 x 4 feet overall

A tanned woman sits on the ground next to an abstract sculpture of a figure.

Rina Banerjee with her sculpture Viola, from New Orleans-ah …, 2017, Murano glass horns, Indian rakes, seed beads, steel, Yoruba African mask, oyster shells, cowrie shells, Charlotte dolls, polyester horse hair trim, Korean silks, Indian silks, vintage Kashmir shawls, French wire Ferris wheel, Congolese elbow bangles, colonial mirror sconces, Japanese seed glass beads, sequins, threads, dimensions variable. Pennsylvania Academy of the Fine Arts, Philadelphia, Museum Purchase, 2017.53. Installation: The Lotus in Spite of the Swamp, Prospect.4, New Orleans, LA, 2017–18

A sculpture of an abstract carved figure with a flared dress and cape made of found material. The figure wears an elaborate, black wig.

Rina Banerjee, In Mute Witness …, wood spindles, aluminum cloth, waxed nylon, wood, steel armature, Murano Glass horns, rooster feather, silk tassel, cowry shell, hemp cord, silkscreen print silk cloth, red cotton thread, acrylic paint, tribal jewelry, baca fibers, 5 2/3 x 3 x 5 feet

A painting of a small, hairy, female humanoid with brown curly hair holding a bag in one hand and numerous diamonds attached to strings in the other hand.

Rina Banerjee, Cat Burglar, acrylic, ink and fabric on wood panel, 20 x 16 ¼ inches

Marie Watt

Marie Watt, an American artist and citizen of the Seneca Nation creates work inspired by community, protofeminism, and indigenous principles. Her practice often involves collaboration where storytelling and fellowship becomes intertwined with language and symbolism pulled from Indigenious knowledge. Watt holds an MFA in painting and printmaking from Yale University, attended Willamette University and the Institute of American Indian Arts, and in 2016 was awarded an Honorary Doctorate from Willamette University.

A red tapestry with black, horizontal stripes hangs on a white wall. A wolf draped with a saddle saying "PROTO" three times is embroidered in black thread in the center.

Marie Watt, Companion Species (Saddle), 2019, reclaimed blanket, thread, embroidery floss, Czech beads, 80 x 87 inches, courtesy of Greg Kucera Gallery, Seattle

Squares of blue and brown fabric overlapping each other to make a large rectangle shape with words like "Indigenous," "equity," and "observe," embroidered on the squares.

Marie Watt, Companion Species (Fortress), 2017, reclaimed wool blanket, thread, embroidery floss, 11 x 17 ¼ inches, photo by Aaron Johanson

A large, carved sculpture of a reclining wolf with ten, full teats on it's stomach.

Marie Watt, Companion Species (Underbelly), 2018, aromatic cedar, 130 x 183 x 136 inches

Cream, tan, and pink squares of fabric overlapping each other in a rectangle shape with words like "love," "voice," and "ancestor" embroidered in red.

Marie Watt, Companion Species: Ferocious Mother and Canis Familiaris, 2017, reclaimed wool blankets, embroidery floss, 108 x 217 ¾ inches, photo by Aaron Johanson

Tschabalala Self

Tschabalala Self was born in Harlem, New York in 1990. She creates large-scale figurative paintings that integrate hand-printed and found textiles, drawing, printmaking, sewing, and collage techniques to tell stories of urban life, the body, and humanity.

On a green background, a collaged amorphous figure wears a red leotard and bends backwards, arms extending towards the ground. Her shadow is cast beneath her.

Tschabalala Self, Vanity, 2020, silk, charmeuse, velvet, fabric, painted canvas, and acrylic on canvas, 96 x 84 inches, Longlati Foundation collection

A large, abstract female figure made of different patterned material holding her knees apart, displaying her vagina.

Tschabalala Self, Origin, 2018, oil, Flashe, acrylic and fabric on canvas, 84 × 72 inches

Two abstract, colorful, voluptuous female figures made of different patterned material stand facing each other. Two brown, female shapes are in the background.

Tschabalala Self, Out of Body, 2015, oil and fabric collage on canvas, 72 × 60 inches

An abstract artwork of two people kissing in a room hangs on a white wall under a cutout of two dark-skinned hands shaking each other.

Installation view, Tschabalala Self: Cotton Mouth, 2020 at Eva Presenhuber Gallery, New York

A large, voluptuous, nude, Black woman stands in a colorful room with a row of cans along the top, a row of jars along the middle, and a patterned square along the lower right side.

Tschabalala Self, Ol’Bay, 2019, painted canvas, fabric, digital rendering on canvas, hand-colored photocopy, photocopy, paper, Flashe, gouache and acrylic on canvas, 96 × 84 inches

Print Study Room: The Artist Interview

‘The Artist Interview’ AHDS 324with Dayton Director and Professor of Liberal Arts Ian Berry

Pandemic and Protest: Responses to Now

Never Done Artist Conversations

‘The Artist Interview’ AHDS 324
with Dayton Director and Professor of Liberal Arts Ian Berry