AH4A is back with an examination of Margaret Preston’s 1958 work Aboriginal Glyph, and lots of thoughts about what it means for a white woman to claim her work is “aboriginal.”
Lots of food for thought in this episode as Allyson discusses a Shona headrest from Zimbabwe in the Met’s collection: how do such objects come to be in Western museums? Should they be returned to their cultures of origin?
In protest of the epidemic of racism and police brutality that affects Black people in America daily, this episode is part of #podcastblackout, a movement begun by the Cult 45 Podcast. The list of victims of police violence in this episode is significantly abbreviated.
Below are some resources to educate yourself on anti-racism and support anti-racist work. Use these resources as a starting point. Allyship is a process. Do not stop educating yourself, and above all LISTEN TO THOSE TO WHOM YOU WISH TO BE AN ALLY.
A breakdown of anti-racism from the National Museum of African American History & Culture
How to Be an Ally if You Are A Person With Privilege, Frances E. Kendall
Holy shit, being an ally isn’t about me!, WOC & Allies
The Racist Housing Policy that Made Your Neighborhood, Alexis C. Madrigal
1619, a podcast by the New York Times
Intersectionality Matters!, a podcast by Kimberlé Crenshaw
Code Switch, a podcast from NPR
AH4A is back with an episode that ROCKS! Allyson discusses the rock art at Serra da Capivara National Park, Piauí, Brazil, and what its story reveals about what we do (or don’t) value.
Indigenous Canadian artist Daphne Odjig’s painting Bathed in Sunlight (1983) and the larger story of Odjig’s career prompt us to think about Native art and how it is (or isn’t) included in the mainstream contemporary art world.
There are lots of different types of bodies in the world, but artist Fernando Botero focuses on the rounder kind–in this episode, Allyson tells you about Botero’s 1998 painting L’Odalisque, and talks about how it relates to body image and ideas of the “other.”
Allyson discusses Filipina artist Anita Magsaysay-Ho’s Girls with Baskets (1966), and how colonialism, class, and global politics affect even the most sentimental of art.