Anonymous Was a Woman honors women artists over 40 who are at a critical moment in their lives or careers. Named after a line in a Virginia Woolf book, the award was created in 1996 in response to the decision of the National Endowment of the Arts to stop supporting individual artists. Little else is…
There’s a point in an designer’s life when they come to a crossroad in their creative journey. Some choose to immediately pursue a career after their undergraduate studies, while others dive right into a graduate program. Or, in the case of Anika Sarin (M.F.A. ‘17), you may decide to forge your own path by starting…
Compelled to counter the the divisiveness, negativity and bigotry of our country’s national political conversation, Virginia Commonwealth University’s Division for Inclusive Excellence and Department of Psychology are partnering to launch a public interactive art project on Thursday, November 17. UNITY is circular arrangement of 32 poles in a large field. Each pole is labeled with…
This event invites Cupid Ojala and Cobi Moules, each a transgender artist, to VCU in spring 2017. The artists will discuss their personal journeys and how those journeys have developed into the focus of their work. This event is a springboard to further advance conversations about LGBTQ artists, gender and visibility at VCU.
“Queer Threads: Making and Talking, Fiber and Fashion” is a scheduled series of events that will occur over one week during the spring 2017 semester at VCU’s Depot and satellite community locations. The series, organized by Craft/Material Studies, comprises curator and visiting artist lectures, interactive community-inclusive art projects and a speaker panel bringing guests together to discuss the intersections of queerness, body image, fashion, textiles and community.
Shaping Bodies brings a group of artists and scholars to VCU who are engaged in conversations around race, body, gender identity, social justice and material culture/histories. These invited artists/scholars will present their individual research, followed by an open-table discussion. This event is scheduled for the spring of 2017.
VCUarts presents a free, public screening and symposium of “OJ: Made in America” (2016). This 8-hour documentary looks at what many have come to know as the trial of the century: The People of the State of California v. Orenthal James Simpson. This trial, in essence, birthed the 24-hour news cycle, and in the mid-90s marked a clear and present divide between White America and Black America. The event is scheduled to take place over two consecutive Saturdays at the end of April.
“Performing History” is series of related events that brings together contemporary African and African-American artists for a robust discussion of identity by looking at art that modifies, plays with, and reframes the historical record through object making and performance. This series of events will happen in the spring of 2017.
“Salsa for Social Change” brings seven-time Grammy-nominated percussionist John Santos, one of the foremost exponents of Afro-Latin music in the world today, as an artist-in-residence to VCUarts.
As part of his three-day residency, Santos will present “Salsa for Social Change,” which draws upon the historical role of Salsa music and its precursors as documentor of a social reality from the perspective of resistance-and how that positive thread remained vital despite commercial, industry, and other internal and external pressures.
The Art Education Department proposes to invite artist Roberto Lugo and art educator Mindi Rhoades to VCU for a series of lectures, conversations and workshops over the course of three days in February. The goal of this series is to illuminate ways in which Art Education can address and break open aspects of cultural identity – class, race, gender, and sexuality.
The Langston Hughes Project is a multimedia concert performance of Hughes’s kaleidoscopic jazz poem suite. “Ask Your Mama: 12 Moods for Jazz” is Hughes’ homage in verse and music to the struggle for artistic and social freedom at home and abroad at the beginning of the 1960s. It is a twelve-part epic poem which Hughes scored with musical cues drawn from blues and Dixieland, gospel songs, boogie woogie, bebop and progressive jazz, Latin “cha cha” and Afro-Cuban mambo music, German lieder, Jewish liturgy, West Indian calypso, and African drumming — a masterwork left unperformed at his death.