DePaul Art Museum Turns Spotlight on Printmaking in 3 Winter Exhibitions

Barbara Jones-Hogu's "Unite."
Barbara Jones-Hogu’s “Unite.” (Collection of the artist/Courtesy of Lusenhop Fine Art/Copyright David Lusenhop)

Diverse works include lithographs, linocuts, woodcuts and screen prints

CHICAGO—(ENEWSPF)—December 12, 2017

By: Julie Rodrigues Widholm and Mia Lopez

Printed works from various artists will be on display at DePaul Art Museum this winter. Three exhibitions will include works by lithographers Clinton Adams and June Wayne of the Tamarind Institute, as well as by Chicago artists Barbara Jones-Hogu and Jose Guerrero, from the city’s South Side and Pilsen neighborhood, respectively. The exhibitions open Jan. 11 and run through March 25, 2018, at the museum on DePaul University’s Lincoln Park Campus.

“Throughout the 20th century, printmaking has been embraced for its ability to reproduce images, but it has also been seen as less valuable than painting or sculpture in the art market for the same reason,” said Julie Rodrigues Widholm, director and chief curator of the museum.

“DePaul Art Museum is interested in bringing under-recognized or overlooked artists and art forms into the program, and we wanted to explore the vitality of printmaking then and now in these exhibitions,” Widholm said.

Rock, Paper, Image: Lithographs by Clinton Adams and June Wayne from the Belverd and Marian Needles Collection

June Claire Wayne’s “Verdict.” (Collection of DePaul Art Museum/Gift of Robert Conway)

Clinton Adams and June Wayne are widely credited with reviving interest in lithography in the mid-20th century. As co-founders of the Tamarind Institute, a center for lithography based in Albuquerque, New Mexico, they instructed artists and shared innovative techniques while simultaneously pursuing their own independent practices.

This exhibition presents a selection of both artists’ work from the 1950s through the 1990s, showcasing how their approaches to subjects, ranging from landscapes and color to literature and politics, evolved over time.

“Rock, Paper, Image” will feature over 30 lithographs, an art form made by drawing a design on a stone or metal surface using a waxy, oily substance that repels water but absorbs ink, allowing the image to be transferred to paper, said Mia Lopez, the museum’s assistant curator. However, due to the complex process and the high price of stones required for printing, lithographs had declined in popularity before Adams and Wayne began the Tamarind Institute, she noted.

Adams is best known for his work in modernist abstraction, with an emphasis on the Southwestern landscape. Wayne’s work shows an interest in science, natural phenomena, the cosmos, genes and social justice. She was feminist and a strong advocate for women artists, said Lopez.

One of the exhibition’s highpoints is a color lithograph of a fingerprint by Wayne titled “Visa (State 1).”

“Wayne was interested in surveillance and the idea that a fingerprint carries so much data,” said Lopez. “It’s both a unique symbol of individuality and a tool that can be used to identify and track people. In this print, Wayne’s fingerprint is enlarged to an unfamiliar scale. No longer recognizable as an extension of the body, the print maintains an aesthetic relationship to nature, suggesting a terrain or X-ray.”

Another highpoint is Adams’ “Canyon,” which is an abstract color lithograph that uses orange, green and yellow and is reflective of the topography of the Southwest.

“’Canyon’ is a strong example of how Adams combined his interests in the landscapes of the Southwest with abstraction, and also demonstrates his skillful ability to render texture through color lithography,” said Lopez.

One of the galleries in the exhibition will explore Chicago print studios, highlighting different types of printmaking that occurs in the city today. Represented studios and collectives will include Spudnik Press, Instituto Grafico de Chicago and Hoofprint Workshop.

A portion of the exhibition is from the museum’s collection, while the rest is on loan from the personal collection of Belverd Needles Jr. and Marian Powers. Needles and Powers have recently made a gift of 15 prints to the DePaul Art Museum collection, including works by Adams and Wayne. Needles, a professor of accountancy in DePaul’s Driehaus College of Business, is an internationally recognized expert in international financial reporting and auditing. Powers is an adjunct professor of executive education in Northwestern University’s Kellogg School of Management. DPAM director Julie Rodrigues Widholm and assistant curator Mia Lopez curated the exhibition.

Barbara Jones-Hogu: Resist, Relate, Unite 1968-1975

The first solo museum exhibition by Barbara Jones-Hogu, who died Nov. 14, 2017, features works on paper including woodcuts, etchings, lithographs and screen prints. Jones-Hogu, a founding member of the African Commune of Bad Relevant Artists (AfriCOBRA) and a central figure of the Black Arts Movement, was a Chicago-based artist, filmmaker and educator. She was a contributor to Chicago’s “Wall of Respect” mural, which celebrated its 50th anniversary in 2017.

With AfriCOBRA, Jones-Hogu shaped the aesthetic philosophy of the organization and was instrumental in developing the group’s signature use of text in their works, according to Lopez. Jones-Hogu was committed to promoting positive images that could inspire and uplift the Black community, using her art to advocate for racial equality and empowerment, said Lopez.

The exhibition boasts over 20 pieces and includes Jones-Hogu’s print work from 1968-75 as well as screen prints and sketches, ranging from black-and-white images to colorful works.

“Her print work from the late 1960s and early 1970s is incredibly colorful and graphic but is also infused with political commentary about racism and positive messages about African-American communities and creativity,” said Widholm.

One of Jones-Hogu’s most famous works of art is a screen print on paper titled “Unite.” The work was made in 1971 and features several African-American persons holding their clinched fists in the air with the word unite written out repeatedly.

“’Unite’ illustrates the impact that current events and the black power movement had on the artist and her work,” said Lopez.

“Barbara Jones-Hogu: Resist, Relate, Unite 1968-1975” is part of Art Design Chicago, an exploration of Chicago’s art and design legacy, an initiative of the Terra Foundation for American Art with presenting partner The Richard H. Driehaus Foundation. The “Barbara Jones-Hogu: Resist, Relate, Unite 1968-1975” catalog is funded by the Terra Foundation for American Art and The Richard H. Driehaus Foundation. DPAM director Julie Rodrigues Widholm and assistant curator Mia Lopez curated the exhibition.

Jose Guerrero, Presente: A Memorial Print Portfolio

John Pitman Weber's "Migrant"
John Pitman Weber’s “Migrant.” (Courtesy of the artist/Collection of DePaul Art Museum/Gift of John Pitman Weber and Hector Duarte)

Jose Guerrero, who died in 2015, was an artist and leader who influenced his community through printmaking, mural painting and activism. He is best known for his work in Chicago’s Pilsen neighborhood, where his studio and workshop was a hub for art classes, mural tours and political organizing.

The exhibition “Jose Guerrero, Presente” features a portfolio of prints made in his memory by 25 Chicago artists, as well as some of his own works on paper. Artists include: Monserrat Alsina, Rene Arceo, Cathy Cajandig, Viky Cervantes, Héctor Duarte, Nicolas De Jesus, Roberto Ferreyra, Eric Garcia, José L Gutierrez, Salvador Jimenes, Alexy Lanza, Edgar Lopez, Alfredo Martinez, Dolores Mercado, Luis Montenegro, José L Pina Morales, Oscar Moya, Art Olson, Antonio Pazaran, Kate Perryman, Eufemio Pulido, Erik Salgado, Diana Solis, Benjamin Varela, Gabriel Villa and John Pitman Weber.

A native of San Antonio, Texas, Guerrero moved to Chicago in 1964. He was a popular artist who infused activism and political organizing into community art making by opening his own print studio and leading mural tours in the Pilsen neighborhood, teaching people about the symbols and meaning behind cultural imagery, explained Lopez.

Included in the 26-piece portfolio by Guerrero’s students, colleagues and friends are screen prints, woodcuts and linocuts. Themes that were central to Guerrero’s artistic practice and life’s work, including labor rights, displacement and gentrification, immigrant’s rights and social equality, are expressed in the collection.

An iconic image in the exhibition is a linocut titled “Migrant” by Weber, founder of the Chicago Public Art Group. “Migrant” illustrates a man raising his arms over his head in a moment of strife.

“Weber was a longtime collaborator of Jose Guerrero and worked on numerous murals with him throughout Pilsen and the surrounding community,” said Lopez. “In ‘Migrant’ he speaks to his and Guerrero’s shared concern for human rights and the struggles of the working class.”

Weber and Duarte organized the Guerrero memorial portfolio a few years ago. Muralist Brother Mark Elder, C.M., an adjunct faculty member in DePaul’s art, media and design program, facilitated the donation and exhibition of the work. Assistant curator Mia Lopez organized the exhibition at DPAM.

DePaul Art Museum is located at 935 W. Fullerton Ave. Hours are 11 a.m. to 7 p.m. Wednesday and Thursday; 11 a.m. to 5 p.m. Friday, Saturday and Sunday. The museum is closed Monday and Tuesday. Admission is free. Additional information at​ or 773-325-7506.


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You’ll Be Seeing Some Very Compelling Work at the Frye Art Museum in 2018, Thanks to the James W. Ray Awards

Veronica Lee-Baik, Giselle Deconstruct, 2017.

Veronica Lee-Baik, Giselle Deconstruct, 2017. TIM SUMMERS

Since 2014, the James W. Ray Awards—administered by The Artist Trust | Frye Art Museum Consortium and with support from the Raynier Foundation—has been shelling out the out the big bucks—about $80,000—to three artists working in different genres (like visual art, dance, and literature) in Washington state.

This year, two artists will receive $15,000 each, and one artist will get a sweet chunk of change—$50,000—to live the dream. In addition, all of the recipients will be able to present their work at the Frye Museum, as well. In fact, one of last year’s James W. Ray Award recipients, Tlingit artist Alison Marks, has a fantastic solo show currently on display at the Frye right now.

Anyway, enough context. And the recipients are…

Jane Wong, Overpour, 2016. Cover art: Tessa Hulls.

Jane Wong, Overpour, 2016. Cover art: Tessa Hulls.

Poet and literary artist Jane Wong is this year’s James W. Ray Distinguished Artist. Her work focuses on migration, violence, and “forgotten histories.” Her 2016 debut collection, Overpour, prompted critic Rich Smith to write: “Wong’s precise and gritty-gorgeous images pass over you one by one like the most intense screen saver you’ve ever seen.”

The award will help Wong, who’s also a curator for poetry collective Margin Shift, complete two manuscripts: a second book of poems, and a collection of nonfiction essays about her family, its subjects ranging from her time working in the family Chinese take-out restaurant, to her father’s gambling addiction.

Installation view of Latent Home Zero.

Installation view of Latent Home Zero. CHRISTOPHER PAUL JORDAN

Tacoma-based visual artist Christopher Paul Jordan, along with collaborator Arnaldo James, will receive $15,000 to develop a series of collaborative public murals across the island of Trinidad and Tobago called Mission Black Satellite.

Jordan helped organize a “die in” at the Tacoma Art Museum’s Art AIDS America show in 2015 to protest the lack of representation of black artists in the exhibit. His recent installation, Latent Home Zero, was set up at the Olympic Sculpture Park this past fall, and dealt with black perceptions of displacement and home.

Veronica Lee-Baik, Giselle Deconstruct, 2017.

Veronica Lee-Baik, Giselle Deconstruct, 2017. TIM SUMMERS

Finally, Veronica Lee-Baik, the other “Venture Project Award” recipient, is a performing artist and founder of The Three Yells dance company in Seattle. She choreographed Giselle Deconstruct, a ballet that debuted at On The Boards in early 2017 that dealt with the rise in suicide rates among Asian-American women.

Her project, to be called A Crack in the Noise, will be a collaborative work blending elements of ballet and modern dance, and will include other mediums like written text and origami, to raise awareness around issues of immigration.

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At Stanford in Washington, arts are inside and outside the classroom

Questions about the role of the press and social media, history and memory, ideological past and future are all rich subjects to explore in a classroom in the nation’s capital. They are also the questions that artist Xiaoze Xie, the Paul L. and Phyllis Wattis Professor of Art at Stanford, poses in his public exhibition Confrontation and Disruption, on view at the Art Gallery at Stanford in Washington through March 31, 2018.

Visitors view the exhibition Xiaoze Xie: Confrontation and Disruption on view at the Art Gallery in Stanford in Washington’s Sant Building.

Visitors view the exhibition Xiaoze Xie: Confrontation and Disruption on view at the Art Gallery in Stanford in Washington’s Sant Building. (Image credit: Micaela Suminski)

The exhibition is a key part of the innovative interdisciplinary arts program that is an integral piece of the experience for students at Stanford in Washington (SIW), a fully immersive residential program for juniors and seniors that includes internships, academics and cultural events. The arts program provides students with a framework for understanding historical trends and contemporary issues they encounter both within and beyond their Washington classrooms, known as the Bass Center.

Throughout the fall quarter, the 24 SIW students have experienced the ways in which various art forms reflect and document social upheaval, including participating in a conversation with playwright Karen Zacarias, ’91, and actors after seeing her play Native Gardens about gentrification; listening to jazz performed by leading young artists; and viewing Xie’s painting of the front page of a newspaper featuring a photo of struggling refugees.

“From SIW’s inception in 1988, generations of students have benefited from the vision and support of Helen and Peter Bing, ’55, who established and endowed our cultural program, enabling students to attend the Washington National Opera and the National Symphony Orchestra at the Kennedy Center, along with theater and dance performances and field trips to historic sites,” said Adrienne Jamieson, the MaryLou and George Boone Centennial Director of SIW. “In recent years, we have built upon this extraordinary access to Washington’s cultural institutions, enabled by Helen and Peter, to develop educational content, often in partnership with creative leaders from the performing and visual arts. Our jazz and blues program, for example, has provided our students with a sense of the complexities of the African American experience in Washington and beyond and has been adapted for public audiences at the Kennedy Center and the National Portrait Gallery. Exhibitions in the art gallery, such as Xiaoze Xie’s, have frequently gone hand-in-hand with specific coursework, internships and the overall experience of students living and learning together in the Bass Center.”

News, politics and access

This fall, students across offices on Capitol Hill, in federal agencies and think tanks, and in journalism have been coping with the rapid-fire nature of political communication and a constantly shifting policy agenda. Discussing the daily news in the center’s dining room is a breakfast tradition at SIW, setting the stage for what students are likely to encounter at their internships. Seeing how Xie memorializes these same headlines in a large-scale painting encourages students to pause and consider the long-term challenges often discarded with the next news cycle.

Painting by Xiaoze Xie titled December 4, 2012. I.H.T. (International Herald Tribune), 2014.

Painting by Xiaoze Xie titled December 4, 2012. I.H.T. (International Herald Tribune), 2014. (Image credit: Alex Jamison)

Relevance to the D.C. context and to current hot button issues is also a feature of the fall course Art, Business and the Law taught by Nancy J. Troy, the Victoria and Roger Sant Professor in Art at Stanford. In the interdisciplinary course, students learn how, for example, national memorials give voice to a range of often antithetical points of view, how government responses to artists’ treatment of the American flag have sometimes challenged First Amendment protections and how politically motivated attempts at censorship have impacted the visual arts.

Troy is as enthusiastic about these topics as she is about the Washington location that makes them especially vivid. “Washington has many fabulous art museums that don’t charge admission fees, there are hugely important archival resources to support art historical research, and vibrant arts offerings elicit an enthusiastic response from Stanford students who have an opportunity to gain firsthand experience of Washington’s many cultural institutions,” she said.

Looking and listening

The Art Gallery at SIW is one of four university art galleries open to the public and the only one that is not on the main Stanford campus. It occupies the ground floor of the Sant Building, an addition to the original Stanford in Washington Bass Center, and students walk through the exhibition space several times a day on the way to class. The gallery hosts a series of art exhibitions and public lectures each year, often featuring works and talks by Stanford faculty and alumni.

Exhibitions by well-known Washington area artists have also been incorporated into the gallery’s schedule, and the artists and curators frequently give talks or attend informal dinners with students and faculty. Recently, Eric Denker, senior lecturer at the National Gallery, served as guest curator for an exhibition of the work of renowned Washington painter and teacher Jack Boul in celebration of the artist’s 90th birthday. Over 160 works from museum and private collections were on display and several public lectures and panel discussions were delivered by artists and the curator. Washington area schoolchildren have participated in the gallery’s educational programs, including exhibitions of work by beloved children’s author and artist Eric Carle and Bart Walter’s bronze cast sculptures of African wildlife.

“Newspapers, often skimmed in a hurry, discarded once consumed, may not immediately strike viewers as art, which is savored slowly, revisited time after time. But Xie transforms news into poetry as he blurs the lines between painter, writer, commentator and critic. … As the United States questions its ideological past and future, Stanford in Washington exhibits Xiaoze Xie’s works at a formative time and fitting place in the nation’s capital.”

—Micaela Suminski, ’17 (SIW fall ’15)

SIW Program Coordinator
Confrontation and Disruption catalog

Along with the visual arts, SIW weaves together music across time periods to highlight some of the similarities among diverse political and social movements. Playwright and SIW teaching artist Tom Minter created Blues for a Royal Flush in 2014, a play with music that captures the personal struggles, societal constraints and political challenges that African American artists faced in segregated Washington during the first half of the 20th century. Blues has been performed in part or in whole for multiple groups of SIW students six times since the original production, sometimes with a broader audience at the Kennedy Center or the National Portrait Gallery and often at the Bass Center.

Most recently, Minter adopted a similar approach to orchestrate a jazz brunch at SIW for students and alumni titled “From U Street to Copasetic,” performed by some of Washington’s most impressive jazz artists. The jazz brunch was in conjunction with a Stanford evening at the National Museum of African American History and Culture where students and alumni toured Washington’s celebrated new Smithsonian museum.

Through SIW’s partnership with Opera Lafayette, the fall students learned that the music of over 400 years ago could also be improvisational, emotional and reflective of changing notions of class and personal expression. Conductor and Artistic Director Ryan Brown organized a performance and conversation around the work of Italian composer Claudio Monteverdi with a group of young vocalists and musicians from the U.S. and Europe who were in rehearsal for a production at the Kennedy Center. As lutenist Thomas Dunford seamlessly transitioned from a 16th-century love song to John Lennon’s “Imagine,” students remarked at the surprisingly “modern” style and sound they recognized in Monteverdi. And indeed, as students learned from Brown and the other artists, Monteverdi’s love songs were among the early works by a composer who performed in public for people who were not part of a royal court, and improvisation was a key aspect of their appeal.

Jamieson considers this “captive audience” at the Bass Center to be one of the keys to the success of the SIW arts program. Students can not only experience and learn about the music, but also ask questions of the performers in an intimate setting. As Stanford alumnus and current JD candidate at Columbia Law School Mitchell Hokanson, ’16 (SIW spring ’15) said, “At Stanford in Washington, we not only go to the opera – the opera comes to us.”

In Jamieson’s words, “Along with their internships and classes the arts program enables students to envision how people have chronicled, considered and coped with societal change over time. And in the process, students often develop an appreciation for the unexpected from the melding of voice and lute at the Bass Center to a dramatic aria on the grand stage of the Kennedy Center. We trust that these students, our future leaders, will create an enduring space for the arts in their lives.”

RankTribe™ Black Business Directory News – Arts & Entertainment

Khalid, the Teenager With 5 Grammy Nominations: ‘They Got It Right This Year’


Khalid, the breakout pop-soul and R&B singer, was not yet 16 when he tweeted a stray thought: “I want to go to the Grammys one day.” It was early 2014, and he didn’t even mean as an artist, let alone one who was nominated. “Just to watch, just to see,” he recalled on Tuesday of his mind-set then.

Now 19, Khalid will make his first trip to the ceremony — on Jan. 28 in New York — as a five-time nominee, up for awards including best new artist, best R&B song (“Location”) and song of the year (for his guest feature on Logic’s suicide prevention song, “1-800-273-8255”).

The industry recognition caps a year in which Khalid Robinson went from an everyday teenage misfit to an internationally known one, carrying the relatable-outcast torch alongside artists like Lorde, Alessia Cara, Lil Uzi Vert and Julia Michaels (all of whom are also up for Grammys).

Jon Caramanica, writing in The New York Times, said Khalid’s debut album, “American Teen,” “most vividly recalls the promise embedded in the soundtracks of John Hughes films — that an outsider’s story might in fact be the thing that can unify and move millions.” That was certainly the case for “Location,” the three-times platinum single that peaked at No. 16 on the Billboard Hot 100, and its follow-up “Young Dumb & Broke,” which also reached platinum status and has been streamed more than 290 million times on Spotify.

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Khalid – “Young Dumb & Broke”CreditVideo by KhalidVEVO

He has also been a near-constant presence on the award show circuit, including the MTV Video Music Awards and the BET Awards, and has proved himself a cross-genre chameleon with appearances not only on “1-800-273-8255” but also Alina Baraz’s “Electric,” Calvin Harris’s “Rollin” and Marshmello’s “Silence.”

Over the phone on his way to the airport not long after the Grammy announcement, Khalid was ebullient and bursting with praise for his fellow nominees as he discussed the diverse crop and looked back on his dreamer days. These are edited excerpts from the conversation.

So how did it feel? Where were you this morning? Take me through it.

I woke up at like 5:30 in the morning in L.A. It was one of those anxious moments, like Christmas, where you wait to go see what’s under the tree. I was very excited, but it doesn’t feel all too real right now. Not long after seeing the nominations, I got a phone call from my mom congratulating me — that was very special. She was screaming on the phone, telling me how proud of me she was and how all my work paid off. And [saying] that she has to go find a dress for the award show.

So she’s your date then?


Take me back to January 2014, when you wrote a tweet about wanting to go to the Grammys. What was your life like then?

I was in high school in New York — I think I was a sophomore. I was very confused with where my life was heading, but I knew that whatever I did, music was going to be involved. I didn’t know if I’d be singing my own songs or writing for others. I was super into Broadway. I don’t even remember tweeting it. It was just off of energy.

In 2015, that’s when I started writing music. I didn’t remember the tweet until 2017. I couldn’t have prepared myself for the roller coaster that I just rode this whole year. Even as a young boy who was very confused, I put that out in the world, and it came true.

How many times do you think you’ve performed “Location” this year? Are you sick of it yet?

I wouldn’t say I’m sick of it — it changed my life forever. But I’ve performed it a lot. Every time I feel a special energy to see everybody in the audience sing every single word super loud. It’s almost like that song is competing with “Young Dumb & Broke” at the shows — some days “Location” will be louder, some days “Young Dumb & Broke” will be louder. They love “Silence,” with Marshmello, too.

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Khalid – “Location”CreditVideo by KhalidVEVO

When you look at the slate of best new artist nominees — none of whom are white men — what does that tell you about where music is right now?

I feel like music is in a place where — I mean, I feel like it’s crazy that I’m nominated. I’m not the most attractive, I’m very young — I’m only 19, and I am an African-American artist. The categories are just filled by so many versatile artists — minorities — who accept their own individuality. Uzi is insanely good and super creative. I’m so glad he’s nominated, because it’s a win for hip-hop music. SZA is a win for R&B and hip-hop. Julia Michaels, so amazing — a win for pop music. Alessia Cara, a win for soul and pop.

And what about where the Grammys stand in general? They’re always fighting the criticism that they’re out of touch.

They definitely got it right. They got it right this year. All the way down from rock to hip-hop to R&B to pop, they got it right. There’s so many amazing songs in 2017. I’m very excited to see who wins, because it’s tough — every song is good.

Do you have personal favorites among the nominees, people you’re really rooting for?

Oh, Kendrick. Kendrick Lamar deserves a Grammy. He’s one of the biggest, most influential rappers of my generation.

How are you going to celebrate tonight?

I’m actually heading to Chicago. I’m probably just going to chill with my best friend. I don’t want to psych myself out, and I don’t want to step away from normalcy. I’m not really the type to — I’m only 19, so I can’t pop bottles at the club.


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Ohio Mesothelioma Victims Center Now Urges a Navy Veteran or a Power Plant Worker In Ohio With Mesothelioma To Call For Instant Access top The Nation’s Top Attorneys For Compensation Results

If we had a tip for a person with mesothelioma in Ohio it would be call us at 800-714-0303 to make certain you are dealing directly with some of the nation’s most skilled mesothelioma attorneys.”

— Ohio Mesothelioma Victims Center

NEW YORK, NEW YORK, USA, December 8, 2017 / — The Ohio Mesothelioma Victims Center specializes in assisting US Navy Veterans and or power plant workers who have been diagnosed with mesothelioma in Ohio and their number one goal is people like this receive the best possible financial compensation. As they would like to discuss anytime at 800-714-0303 to get the best possible financial compensation for this rare cancer caused by asbestos exposure it is so vital you are represented by some of the nation’s top mesothelioma attorneys.

If a US Navy Veteran who was exposed to asbestos on a navy ship or at a navy shipyard and or a power plant worker with mesothelioma in Ohio would like the best possible financial compensation please call the group at 800-714-0303 so at a minimum they have the opportunity to have a conversation with one of the nation’s leading mesothelioma attorneys to get a map of how the financial compensation claims process works for mesothelioma. http://Ohio.MesotheliomaVictimsCenter.Com

The Ohio Mesothelioma Victims Center says, “Our number one goal is seeing to it that a US Navy Veterans or power plant workers in Ohio receives the best possible financial compensation if they have been diagnosed with mesothelioma.

“Coal fired power plant workers in Ohio with mesothelioma are also a top priority for us because we have known some and their family members. It is very hard to forget about people with mesothelioma in Ohio and what they and their family had to go through. We are passionate advocates for people with mesothelioma in Ohio receiving the very best possible financial compensation. If we had a tip for a person with mesothelioma in Ohio it would be please call us at 800-714-0303 to make certain you are dealing directly with some of the nation’s most skilled, experienced and capable mesothelioma attorneys. As we would like to discuss anytime the size of your compensation settlement depends in large part to the skills of the attorneys who represent you.” http://Ohio.MesotheliomaVictimsCenter.Com

The Ohio Mesothelioma Victims Center wants to emphasize there is a statewide initiative available to a diagnosed victim anywhere in Ohio including communities such as Columbus, Cleveland, Cincinnati, Toledo, Akron, Dayton, or Youngstown.

Aside from their focus on the best possible compensation the Center is also extremely passionate about the best possible medical treatments. For the best possible mesothelioma treatment options in Ohio the Ohio Mesothelioma Victims Center strongly recommends the following three heath care facilities with the offer to help a diagnosed victim, or their family get to the right physicians at each hospital: Case Western Reserve University Cancer Research Center Cleveland, Ohio: , Ohio State University Comprehensive Cancer Center Columbus, Ohio:, the Cleveland Clinic Taussig Cancer Institute Cleveland, Ohio:

High-risk work groups for exposure to asbestos in Ohio include Veterans of the US Navy, power plant workers, factory workers, plumbers, electricians, coal miners, auto mechanics, machinists, and construction workers. Typically, exposure to asbestos occurred in the 1950’s, 1960’s, 1970’s, or 1980’s.http://Ohio.MesotheliomaVictimsCenter.Com

The states indicated with the highest incidence of mesothelioma include Maine, Massachusetts, Connecticut, Maryland, New Jersey, Pennsylvania, Ohio, West Virginia, Virginia, Michigan, Illinois, Minnesota, Louisiana, Washington, and Oregon.

For more information about mesothelioma please refer to the National Institutes of Health’s web site related to this rare form of cancer:

Michael Thomas
Ohio Mesothelioma Victims Center
email us here

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Did the CIA’s chief James Angleton fall for British traitor Kim Philby?

​Kim Philby and Jim Angleton first met at Bletchley Park, in early 1944. A precociously literate 26-year-old Yale graduate, Angleton had been spotted as a promising spy by his professors and sent to the British intelligence centre for espionage training. There, Philby, chief of MI6 intelligence operations in Spain and Portugal, taught him the black arts of counter-intelligence.

The two formed a friendship. Philby, then aged 32, preferred Angleton’s quiet good manners to the fawning Anglophilia of his more provincial countrymen. A year later, when Angleton was assigned to run the US counter-intelligence office in Rome, Philby dropped in from his posting in Turkey. They compared notes on marriage and the growing threat of the Soviet Union.

The men renewed their friendship in Washington in 1949, when Philby took over the MI6 station here. Angleton, a rising star at the newly created CIA who would go on to become its counter-intelligence chief, never guessed that his friend was a communist spy, who was passing on his every confidence to Moscow.

Philby’s epic treachery is now the stuff of legend, as is the futile mole hunt by Angleton that followed.

As a double agent, Philby not only betrayed his home country, but the Americans who placed so much trust in their more experienced British counterparts. That is why I have written a biography of Angleton – not only to capture Kim Philby through American eyes, but to understand the impact his audacious treachery had on the CIA in its formative years.

These were times fraught with sexual tension in intelligence agencies on both sides of the Atlantic.

Philby touched on homoerotic currents as electric and buried as the phone lines those spies routinely wiretapped. His betrayal of Angleton was ideological and emotional. Its impact was political and psychological.

Philby and Angleton’s friendship blossomed in the spring of 1950, amid a moral panic in Washington. In a series of sensational speeches, Republican senator Joe McCarthy had woven together the threats of communism and homosexuality into twin fervours that historians have dubbed the “Red Scare” and the “Lavender Scare”.

The two spies were cosmopolitan men who disliked McCarthy’s demagogic style. Angleton was married and a father of three. Philby was on the second of his four marriages, had four children, several mistresses, and many conquests. His housemate in Washington (and fellow spy) was Guy Burgess, a Cambridge classmate who had previously worked for the BBC and the Home Office. Openly gay, he did not conceal his amused contempt for American morality.

Philby’s affection for Burgess bordered on the physical. Wilfred Mann, a scientist who worked in the British embassy, dropped by Philby’s house unannounced one morning in early 1951 and found Philby and Burgess lounging together in bed, sipping champagne and dressed only in bathrobes.

Angleton was half-amused, half-appalled by Burgess’ exuberant style. When Angleton invited both men to his house, his daughter remembered how they frolicked. “They’d start chasing each other through the house in this little choo-choo train,” Siri Hari Angleton once remarked. “These men in their Eton ties, screaming and laughing!”

Thanks to McCarthy’s insinuations, homosexuals were presumed to be a security risk because of the potential for blackmail. For these spies, same-sex liaisons were seen as an aberration; an indicator of psychological weakness (but not sufficient for disqualification from the intelligence community).

In May 1951, the friendship of Philby and Angleton was tested by terrible news. While on home leave, Burgess had disappeared, along with Donald Maclean, an Embassy official who GCHQ and National Security Agency code-crackers had identified as a probable Soviet spy. The two men soon turned up in Moscow.

Had someone tipped off Burgess and Maclean that the net was closing?

Many suspected Philby, who insisted, with sheepish aplomb, that he had been fooled like everyone else. Angleton sided with his friend.

Perhaps, some colleagues later wondered, he had been blinded by affection. In a memo, he wrote: “Philby had consistently ‘sold’ [Burgess] as a most gifted individual … In this respect, he has served as subject’s apologist on several occasions when subject’s behaviour has been a source of extreme embarrassment in the Philby household.”

Bill Harvey, a senior CIA Soviet expert, scoffed. “Where’s the rest of the story?” he scrawled on Angleton’s memo, confiding in one colleague he thought there had been a homosexual relationship between the two friends.

After Maclean and Burgess defected, it became apparent the Soviets had agents deep in Western intelligence. Still, Angleton remained blind to any involvement on the part of Philby, insisting to James McCargar, a CIA colleague: “I still feel Philby some day will head the British service.”

Philby never escaped the shadow of suspicion but Angleton sided with MI6 officials who rejected the charge that he was a spy. By the time Philby moved to Beirut in 1956 to work as a journalist, Angleton had become chief of counter-intelligence at the CIA, with a staff of 200.

Knowing there were lingering suspicions, he arranged for Lebanese police to watch his old friend. They reported that Philby had been spotted sneaking off to rendezvous with the wife of a friend and Angleton was satisfied. Kim was a rogue, not a Red.

So when Philby finally defected to Moscow in January 1963, Angleton was shattered. For 19 years, his mentor and dear companion had played him for a fool, while stealing atomic secrets, US plans for the Korean War and countless secrets that had been read by Stalin.

The realisation came as a “terrible shock”. Angleton knew he had confided in Philby “far beyond any routine relationship between the colleagues of two friendly countries”, said Nicholas Elliott, Philby’s best friend in MI6. “The knowledge that he, the top expert in the world on Soviet espionage, had been totally deceived had a cataclysmic effect.”

The powerful and now paranoid Angleton redoubled his search for a KGB mole in the upper ranks of the CIA, certain that another Philby was lurking. He investigated 40 agency employees, and effectively killed the careers of about a third of them. Yet he never found a plausible suspect.

From Moscow, his former pal Philby tormented him. In his witty, malicious 1968 memoir, My Silent War, Philby depicted Angleton as a hapless dupe.

“The key to Philby, if there is a single one,” wrote McCargar who worked with both men, “is less likely to be found in the faults of the Establishment, than it is in a compulsion to betray and deceive, which underlay all his relationships.”

Ultimately, Angleton knew that better than anyone. Near the end of his life, his CIA colleagues threw him a farewell luncheon where he was asked if he wanted to say anything that he had previously never disclosed about the Philby case.

“There are some matters I shall have to take to the grave with me,” he replied, heartbroken to the end, “and Kim is one of them.”

The Ghost: The Secret Life of CIA Spymaster James Jesus Angleton by Jefferson Morley is published by Scribe.

Telegraph, London

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Radiohead To Tour South America, Skip Rock And Roll Hall Of Fame Induction

Thu, 30 Nov 2017 10:55:23

Radiohead To Tour South America, Skip Rock And Roll Hall Of Fame Induction -

Radiohead announced a series of April 2018 tour dates that will span six music festivals all over South America. One of those dates, at the Soundhearts Festival in Buenos Aires, happens to fall on April 14, the same day as the Rock and Roll Hall of Fame Induction ceremony. The English rockers are considered a heavy favorite to receive the accolade, but with a concert scheduled in Argentina for the same day, the band have decided to skip the ceremony.

Radiohead guitarist and effects unit specialist Ed O’Brien reserved a bit of skepticism for the whole Hall of Fame process, saying, “With British bands, there was a lot of hostility. It’s in our DNA to be a little ambivalent with award ceremonies… It’s a little bit thin on black artists and hip-hop artists. I’m just speaking as a fan of American music, I would have thought that Dr. Dre should have been in there two years ago. His name should be first on the list way ahead of Radiohead.”

The group also took to Twitter to post a long-awaited update on the Downsview Park stage collapse incident, which took the life of drum technician Scott Johnson. An inquest is underway, which the band considers scant justice considering a Canadian judge already stayed the charges in a trial resulting from the tragedy.

Radiohead 2018 Tour Dates:

4/11 — Santiago, CL @ Estadio Nacional (SUE Festival)

4/14 — Buenos Aires, AR @ Tecnopolis (Soundhearts Festival)

4/17 — Lima, PR @ Estadio Nacional (Soundhearts Festival)

4/20 — Rio de Janerio, BR @ Parque Olimpico (Soundhearts Festival)

4/22 — São Paulo, BR @ Allianz Parque (Soundhearts Festival)

4/25 — Bogota, CO @ Parque 222 (Soundhearts Festival)

Download Radiohead music on iTunes here

—The ARTISTdirect Staff

Tags: Radiohead

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Lubaina Himid – the Turner Prize winner on art and why it matters

Lubaina Himid is the oldest artist and the first black woman to win the Turner Prize. She talks to Chris Bond about her surprise at winning and why art matters to people.

The Turner Prize has had a reputation over the years for courting controversy. Previous winners include Damien Hirst, famous for his pickled shark, and Chris Ofili, known for incorporating elephant dung into his paintings. Then there’s Martin Creed who won the prize in 2001 for a piece that featured a light going on and off.

Himid at Tuesday's announcement in Hull. (PA).

Himid at Tuesday’s announcement in Hull. (PA).

This year’s shortlist was notable less for the controversial exhibits on show and more for the accessible nature of the work and the age of those that made the cut, with two of the artists over 50.

It was seen as a sign that the best known accolade in British art had grown up. This was reinforced when 63 year-old Lubaina Himid was announced as this year’s winner at a glitzy ceremony at Hull Minster on Tuesday night and in doing so became the oldest ever winner of the prize.

Alex Farquharson, director of Tate Britain and chairman of the jury, believes Himid’s selection vindicated the decision to lift the restriction on artists over 50 being nominated for the first time since 1991.

“It reflects well on the motivation for lifting it which is an increasing sense that the work of older artists has been making considerable impact on what we’re looking at and how we’re thinking about art today. I think there is no longer an overwhelming focus on youth as equating to what’s innovative in contemporary art,” he said.

Himid’s work celebrates black creativity and includes paintings, prints, drawings and installations. Asked about the £25,000 prize, she said she already “surreptitiously” helped artists struggling for funding to put on shows and plans to continue this.

In her acceptance speech, Himid said she felt she’d won the prize on behalf of a lot of other people. “I won it for all the times we put our head above the parapet and we tried to do things and we failed. People have died in the meantime,” she said. “For all the black women who never did win it even though they’ve been shortlisted. It feels good for that reason.”

Asked about her age, she said: “I’ve 63 years behind me. I certainly haven’t got 63 years in front of me. Maybe 15 years worth of painting if I work it at it? So I’ve got a lot to do.”

Himid, who was described earlier this year by The Daily Telegraph as “the under-appreciated hero of black British art”, made her name in the 1980s as one of the leaders of the British black arts movement – both painting and curating exhibitions of similarly overlooked artists.

But she’s now got the recognition she deserves with the Turner Prize panel praising her “expansive and exuberant approach to painting which combines satire and a sense of theatre.”

Her work featured in the exhibition at Ferens Art Gallery in Hull contains pieces from the 1980s right through to today, including wooden figures, pottery and newspapers that she has painted on.

The centrepiece is 1987’s A Fashionable Marriage, based on William Hogarth’s Marriage a la Mode, which features a cast of cut-out characters including a flirting Margaret Thatcher and Ronald Reagan. There are also porcelain dinner sets found in junk shops. Himid has taken these and painted images of black slaves on some and aristocrats – some of whom are vomiting at the news of the abolition of slavery – on others.

Speaking to The Yorkshire Post, Himid said she was delighted, albeit surprised, that she’d won. “I was totally shocked. I didn’t think it was going to happen. I was happy just being nominated because it’s a strong show full of really good artists.”

She sees her victory as recognition for the support she received from art historians and others who have written about and promoted her work down the years, as much as her skill as an artist. “It’s vindication of other people’s work and those in art galleries who put the work on.”

Much has been made of her being the oldest person to win the Turner Prize but she doesn’t see it as being particularly significant. “I’m not sure it’s that important for artists what age they are. You have people like Barbara Riley and Paula Rego in their 80s having exhibitions all over the world. So there are women much older than me producing great work.”

However, she hopes that winning the Turner Prize will help raise the profile of black female artists working in Britain today. “It’s not as though black women have never been up for the Turner Prize before, we have been, but it all adds up and something like this shows we’re part of British culture.”

Himid uses her own work to throw a spotlight on the history of black women, something she feels has too often been overlooked. “It’s about understanding the gaps in our histories and how to fill them. I use my art to find ways to broker conversations between people,” she says.

“If it influences curators who think more carefully about what they put on the walls and if it influences teachers and what they talk about to their pupils, then that’s good. Each of us is trying to make a difference in our own tiny way.”

Himid was born in Zanzibar in 1954 and grew up in London where her mother nurtured her interest in art and culture. “My mum was a textile designer and during the week she would show me what she was doing and we would talk about patterns and colours and at weekends we would go to museums and look at all the beautiful things on show.”

A career in the arts beckoned and she trained as a theatre designer at art school and went on to design interiors for restaurants before becoming involved with artists and developing her own work.

She believes there’s a genuine interest in the arts in this country. “I think ordinary people understand how important culture is to our lives, it’s policy makers that try and strangle it, cut it, or ignore it. But people on the street get it.”

Himid, who lived in Hebden Bridge for a spell back in the 80s, points to the success of the Turner Prize Exhibition which went on display at the end of September and has been one of the highlights of Hull’s tenure as City of Culture. “They’ve had more than 90,000 visitors so far which beats the numbers that went to London. People aren’t standing around they’re engaged with the art, they’re talking about what’s on the walls.”

It’s yet another reminder, should we need one, of the appetite for high quality art and culture that exists in the North. “A lot of our greatest artists come places other than London. David Hockney comes from Yorkshire and his visitor numbers are gigantic.

“You just have to look at the great collections on show in public galleries across the country to realise how marvellous it is. The quicker we realise that Britain really is a vibrant and creative place the better it will be.”

The Turner Prize Exhibition at the Ferens Art Gallery in Hull runs until January 7.

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Fullerton College to host 21st annual Kwanzaa celebration

The FC Ethnic Studies Department and Umoja Program will co-host the 21st annual Kwanzaa celebration on Friday, Dec. 8 from 6 to 9 p.m. inside the Wilshire Auditorium.

The event’s special guest speaker will be Dr. Maulana Karenga, the founder of Kwanzaa. He is a professor and chair department of Africana studies at California State University, Long Beach.

Karenga is recognized as an influential figure who has had a long lasting impact on black intellectual and political culture since the 1960s. He has played a vital role in an extensive amount of accomplishments ranging from the Black Arts Movement, Black Studies, the Black Power Movement, and many more.

“I think [Dr. Maulana Karenga] is a visionary,” Antonio Banks, director of the FC Umoja Program said. “To be able to put forth a holiday, I don’t even know how you start a holiday. I think something like that takes vision and passion. He seems like he’s embodied those things.”

The event’s theme is Kuumba, which is one of the seven principles of Kwanzaa. The word means creativity, or more specifically, “to do always as much as we can, in the way we can, in order to leave our community more beautiful and beneficial than we inherited it.”

“Our goal with this entire event is to really higlight the role of art and creating a more beautiful community,” Arnetta Smith, professor of ethnic studies said.

“I really wanted to highlight the role of black artists and how art helps us move through the world. Art helps us heal from some of the oppression that we experience as black people living in the United States,” Smith said.

The Kwanzaa event is free for everyone to enjoy. Reception and food begins at 6 p.m. Meanwhile, the formal Kwanzaa program will begin at 7 p.m.

Entertainment will include performances by the KIPP’s Academy of Opportunity Youth Drumline, students and faculty. Professor Ernest Bridges will be directing the Kwanzaa ceremony.

“I’m really looking forward to meeting Dr. Karenga,” Smith said. “I got my [bachelor’s degree] in African-American studies so I’ve been studying him for years. And now I’m teaching about him and his philosophy in some of my classes. So just being able to actually meet him and get the chance to interact with him, I’m excited.”

To learn more about the event, please contact Arnetta Smith at

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Analyzing Race and Gender Bias Amid All the News That’s Fit to Print

Ms. Bell, 34, a Chicago native, is an African-American artist straddling two worlds dominated by white men: media and art. Though there are writers and journalists who applaud her analytical approach to deconstructing news, Ms. Bell noted, there are people in the arts who are more cautious. “I’ve been told that maybe I shouldn’t focus so much on race,” she said. “Art people try to get me to diversify my work and not pigeonhole myself so I won’t be seen as the ‘race girl’ in the art world. But everything is about race. It’s tough not to say it’s about race.”


“I’m creating a narrative that goes against the dominant narrative put forth by the news,” Ms. Bell says. Credit Béatrice de Géa for The New York Times

This was apparent to her even when she worked as a grant writer for a syringe-exchange program. She spent five years in that job before applying to Columbia’s masters program in journalism. Eventually she experienced a “quarter-life crisis,” which prompted her to take a semester off. “I went to Paris for a month and spent time in an art collective not doing art,” she said. “I’m from what feels like a small gay black space, and I needed time to be in a different space where I could think through ideas.” Upon her return, she completed her degree in 2013.

It is that concern for historically marginalized groups that is the focus of her“Counternarratives” series, which examines the print version of The Times. “I’m creating a narrative that goes against the dominant narrative put forth by the news,” she explained.

One installment of her series looked at a front-page article about the United States swimmer Ryan Lochte and the controversy swirling around his robbery claim during the 2016 Olympics in Rio de Janeiro. Underneath the headline (“U.S. Swimmers’ Disputed Robbery Claim Fuels Tension in Brazil”) was a photo of the Jamaican sprinter Usain Bolt, referring to the article in an inside page about his winning gold in the 200 meters. To Ms. Bell, that particular juxtaposition — with no image of Mr. Lochte on the page — was egregious.

As was the special display on the sports section front of a profile of the retired tennis player John McEnroe, she said. Two large images ran with the article about Mr. McEnroe’s career and new book. He also talked at length about a comment he had made about Serena Williams’s rank if she had played on the men’s circuit. (It would be, he said, “like 700 in the world.”) The McEnroe feature appeared the same day Serena’s sister Venus Williams was to play a historic match at Wimbledon — she had reached the singles final there at 37. The day before, an article about her feat ran without an image on the sports section front. The Williams piece was “dwarfed in comparison to McEnroe’s,” Ms. Bell said. When contrasting the articles about Mr. Lochte and Mr. McEnroe, she said, “an important question emerges about how The Times centers whiteness,” when the news stories are positive and when they are negative.


Ms. Bell working on her art at her studio in Bushwick, Brooklyn. With her series “Counternarratives,” she aims to expose certain media biases. Credit Béatrice de Géa for The New York Times

Inside her windowless Bushwick studio, Ms. Bell has taped drafts of her works to the wall and spread them out on the floor. “I do subscribe to The Times,” she said. “My studio is like an archive room.” To her, it’s crucial to examine current publications with a historical lens. Once she’s identified an article, she proceeds to work.

“I choose a story because there’s been some kind of violation to me,” she said. “It’s imperative to show how a turn of phrase or a misplaced photo has real consequences for people at the margins who are still suffering under the weight of unfair and biased representation.”

While her art has been exhibited at Bennington College in Vermont and Atlanta Contemporary in Georgia, her fans have printed smaller versions of “A Teenager With Promise” and posted them on the streets of Washington, D.C., and Chicago. (Ms. Bell mostly pastes her works onto walls in the Bedford-Stuyvesant, Clinton Hill and Crown Heights neighborhoods of Brooklyn.) Prints are also on view in a group show at the Koenig & Clinton gallery in Brooklyn, MoMA PS1 in Queens as well as at the Nathan Cummings Foundation in Manhattan.

Ms. Bell said she wants to help readers engage more critically with the news through her art. Occasionally, she will linger on the street just to observe how people react to her work. One day, she said, two men were about to climb into a car and one of them stopped to look at Ms. Bell’s piece. His friend urged him to hurry and get in, she said. “The guy replied, ‘I’m trying to learn something.’”

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