Latest / Stuff Mom Never Told You / SMNTY Classics: Meta Vaux Warrick Fuller

Transcript

SMNTY Classics: Meta Vaux Warrick Fuller · Stuff Mom Never Told You

• 0:05
  Speaker 1: Hey, this is Annie and Samantha. I don't welcome to
• 0:07
  Speaker 1: stephone Never Told You production of I Heeart Radio. And
• 0:18
  Speaker 1: he may have noticed who We have a bit fewer
• 0:21
  Speaker 1: classics lately, but that will be changing this as a temporary,
• 0:25
  Speaker 1: temporary arrangement because we do have a lot of content.
• 0:32
  Speaker 1: But we wanted to bring back another female First we
• 0:35
  Speaker 1: did with Eves uh and this one was fascinating as well,
• 0:39
  Speaker 1: about the first black woman in the US to receive
• 0:42
  Speaker 1: a US federal commission, which is pretty neat. Yes, yes,
• 0:46
  Speaker 1: so please enjoy this classic episode. Hey, this is Annie
• 0:55
  Speaker 1: and Samantha and welcome to stephone Never Told You production
• 0:58
  Speaker 1: of I Heart Radio. Today it is time for another
• 1:10
  Speaker 1: edition of Female First. I guess this is the first one.
• 1:13
  Speaker 1: Oh yes, it is, yes, which means we are once
• 1:17
  Speaker 1: again joined by our friend and colleague Eves. Hello. Hello, Well,
• 1:23
  Speaker 1: you know last time you were on here, you did
• 1:25
  Speaker 1: a very good review of a horror movie you've seen recently?
• 1:28
  Speaker 1: Are there to be a horror movies you want to
• 1:29
  Speaker 1: give a short review of here at the Okay, you're
• 1:32
  Speaker 1: putting me on the spot right now. Okay, let me
• 1:33
  Speaker 1: think if I've seen any recently I'm actually I haven't
• 1:36
  Speaker 1: seen any horror movies recently. I've been catching up on
• 1:38
  Speaker 1: horror TV. I'm just catching up on Dark. So that's
• 1:41
  Speaker 1: that's really what what's been on my mind lately. But
• 1:43
  Speaker 1: I'm trying to think if I've seen a bad horror lately. Probably,
• 1:47
  Speaker 1: but I can't conjure one on right now. What about you, Samath,
• 1:55
  Speaker 1: have you seen any bad? I mean, I'm sure I have,
• 1:59
  Speaker 1: like keep rewatching the same ones. I I did find
• 2:02
  Speaker 1: that since I have HBO Max now and you know
• 2:05
  Speaker 1: the Roccu with this whole thing where you wouldn't have
• 2:07
  Speaker 1: the Max part portion but now it's gotten together and
• 2:10
  Speaker 1: that thing. I have the Conjuring series, so I've started
• 2:15
  Speaker 1: all of it because the last one that's not the
• 2:18
  Speaker 1: last one because I don't I guess it said James
• 2:20
  Speaker 1: one movie. I don't know if it's a part of
• 2:23
  Speaker 1: the series, but for some reason it's linked to it.
• 2:25
  Speaker 1: It's like La Larea based on that the folk tale. Yeah,
• 2:31
  Speaker 1: so I'm watching that. Well, I'm coming up on that
• 2:34
  Speaker 1: because I was like, well, I might as well start
• 2:35
  Speaker 1: at the beginning and go through all the Annabells, even
• 2:37
  Speaker 1: though some of them are really awful, and then that
• 2:40
  Speaker 1: one that's my like finale. Since I've never seen that one,
• 2:43
  Speaker 1: I'll tell you about it when I watch it. That
• 2:45
  Speaker 1: movie came out, there were two of them by very
• 2:48
  Speaker 1: similar names about the same folklore that came out at
• 2:51
  Speaker 1: the same time, and I've seen them both and they're
• 2:54
  Speaker 1: vastly different, which is interesting. Which one is better? Probably
• 2:59
  Speaker 1: not the one you're about to Okay, I think the
• 3:01
  Speaker 1: one you're about to watch is like Pope scarier and
• 3:05
  Speaker 1: that like more jump scared, yeah, and the other one
• 3:08
  Speaker 1: is much more like under your Skin? Is this guy
• 3:12
  Speaker 1: losing his mind? Or is there actually like psychological stuff
• 3:17
  Speaker 1: if I'm remembering correctly, because yeah, I've also seen a
• 3:20
  Speaker 1: lot of horror movies. The Cars of La Lorena, Yeah, yes,
• 3:24
  Speaker 1: I just remember it though I have been watching I
• 3:26
  Speaker 1: think I told you that I had been watching classic
• 3:28
  Speaker 1: horror movies, um lately. One of those. I think last
• 3:31
  Speaker 1: time I told you I watched Creature from the Black Lagoon, right,
• 3:35
  Speaker 1: But when I watched after that was Invisible Man, so
• 3:38
  Speaker 1: and that was a treat like it definitely had its moments.
• 3:41
  Speaker 1: I feel like a lot of those that I have
• 3:43
  Speaker 1: one liner takeaways that are just very valuable to think about.
• 3:47
  Speaker 1: I think that's too old to give, like or not
• 3:49
  Speaker 1: silly enough. I'll say to like, you know, give any
• 3:52
  Speaker 1: sort of meaningful review that hasn't been done one ninety
• 3:55
  Speaker 1: thousand million times before. But I enjoyed it, and like
• 3:58
  Speaker 1: it's really fun to of like watch horror that's so
• 4:03
  Speaker 1: so so lighthearted by today's standards, even though they're so
• 4:06
  Speaker 1: so so problematic in so many ways, like it comes
• 4:09
  Speaker 1: to the treatment and depiction of women and black people,
• 4:13
  Speaker 1: but like it's also very like, oh wow, we we
• 4:17
  Speaker 1: went We went deep into the abyss with half a century.
• 4:21
  Speaker 1: We went deep. We went deep. So I feel like
• 4:25
  Speaker 1: we need to do a whole thing about bad eighties movies,
• 4:29
  Speaker 1: horror movies like the clown movies that they used to
• 4:31
  Speaker 1: do all the time, where they just had a person
• 4:34
  Speaker 1: dressing up chasing with a high pitched giggle like stuff
• 4:37
  Speaker 1: like that, where it's like it seems scary as a
• 4:39
  Speaker 1: kid and you grow up going what the Gridlins it's
• 4:41
  Speaker 1: a prime example of that, you're like, what the hell
• 4:44
  Speaker 1: is this? Or the leprochron movies. We should do we
• 4:50
  Speaker 1: should watch that as a as a team mill team
• 4:53
  Speaker 1: at Yes, I mean I'm in. I'm in. It'll be
• 5:00
  Speaker 1: interesting because some of them you go back and you
• 5:03
  Speaker 1: don't realize, like how messed up it was that you
• 5:05
  Speaker 1: watched that. Yeah, yeah, I might have talked about this before,
• 5:11
  Speaker 1: but yeah, this tigmata was one of the ones I
• 5:13
  Speaker 1: saw pretty early on in the theater, and that was like,
• 5:15
  Speaker 1: that's pretty intense and not it I think about it
• 5:18
  Speaker 1: in my today mind thinking about as a child, haven't
• 5:22
  Speaker 1: watched that kind of melancholy looks. You couldn't see the listeners,
• 5:31
  Speaker 1: but it was the site of the whole. That pause
• 5:34
  Speaker 1: was not an awkward pause. It was definitely a moment
• 5:36
  Speaker 1: of reflection of like, ye I saw that may be
• 5:41
  Speaker 1: very young too, I don't know. I think that's the
• 5:44
  Speaker 1: that one of the troubled lines we walked now when
• 5:48
  Speaker 1: you rewatch something that you might have loved as a
• 5:50
  Speaker 1: kid or even like not necessarily loved, but watched, and
• 5:53
  Speaker 1: then you go back and it's been like, you know,
• 5:55
  Speaker 1: fifteen years since you watched it, and you're like, oh god, yeah,
• 6:02
  Speaker 1: but anyway, hard pivot. Before we get into this episode,
• 6:06
  Speaker 1: I wanted to ask if any of you ever sculpted anything,
• 6:09
  Speaker 1: not seriously, nothing that wasn't from like Walmart bock clay, right,
• 6:14
  Speaker 1: But I think the best I've done was like a
• 6:16
  Speaker 1: pot where you did the coil pot I got. You
• 6:20
  Speaker 1: just made it into a coil and rolled it up
• 6:22
  Speaker 1: and then you smoothed it out before you put it
• 6:25
  Speaker 1: in the kiln. And I remember doing that in like
• 6:27
  Speaker 1: the second grade with my art teacher. But that was
• 6:29
  Speaker 1: the best I've done. And then you paint it after,
• 6:32
  Speaker 1: you know, fired, they're not gonna give you like an
• 6:34
  Speaker 1: actual what are those I don't making swirling motion? You know?
• 6:40
  Speaker 1: Oh yeah, this is really bad for like ghosts where
• 6:43
  Speaker 1: she's doing the whole pottery. Oh the wheel, I don't
• 6:46
  Speaker 1: know what. I don't know what it's called. I don't know.
• 6:49
  Speaker 1: I'm so glad we're so artistic that we know these things.
• 6:52
  Speaker 1: Um So instead of doing that with pottery, which is
• 6:55
  Speaker 1: how people typically do it, smoothing it out, we did
• 6:58
  Speaker 1: the old school, like you made into a coil, bringing
• 7:00
  Speaker 1: it up into a pot, and then you smoothed it out.
• 7:02
  Speaker 1: That's the only thing that the sculpted in my life.
• 7:05
  Speaker 1: And it wasn't good and it didn't hold water. That
• 7:10
  Speaker 1: was a disappointing ending. But had the experience. Yeah, the
• 7:15
  Speaker 1: lowest grade I ever got in in my primary education.
• 7:19
  Speaker 1: Heres was an art in high school. My art teacher.
• 7:22
  Speaker 1: It was like almost comical how much she hated everything
• 7:25
  Speaker 1: I did. And we did have a wheel, so I
• 7:27
  Speaker 1: got to use that. But one of the funniest experiences
• 7:30
  Speaker 1: I had, and that very dreary class for me, was
• 7:34
  Speaker 1: we were sculpting something out of I don't know if
• 7:36
  Speaker 1: it was marble, but it looked like marble and it
• 7:38
  Speaker 1: was real slow going, and I had chosen to do
• 7:41
  Speaker 1: a horse. I don't know why I didn't really like horses.
• 7:44
  Speaker 1: I think it's because the ring had just come out
• 7:46
  Speaker 1: and I was really into that. That's messed up. But
• 7:48
  Speaker 1: it was bad. It was bad. I wish I had
• 7:51
  Speaker 1: it and I could show it to you. It's awful.
• 7:53
  Speaker 1: But she came up behind me and she's like, oh,
• 7:55
  Speaker 1: is that a polar bear? And I paused and I
• 7:57
  Speaker 1: looked at it. I was like yes, So I just
• 8:02
  Speaker 1: let heally believe that I was trying to sculpt a
• 8:04
  Speaker 1: polar bear. End did it still look like a polar bear? Oh? Yeah.
• 8:09
  Speaker 1: At that point I changed my whole direction and I
• 8:12
  Speaker 1: was like, yes, it's a polar bear. That's the way
• 8:14
  Speaker 1: I'm going to come. And that was probably one of
• 8:18
  Speaker 1: the higher grades I got. And then I also did like, um,
• 8:22
  Speaker 1: I did a colck face, but it was like a
• 8:23
  Speaker 1: human It was like the drama tragedy face and it
• 8:26
  Speaker 1: was all dramatic. Um I liked it. She did not
• 8:29
  Speaker 1: like it. She said it was like too intense or something.
• 8:34
  Speaker 1: But anyway, I wasn't good either. It sounds like she
• 8:37
  Speaker 1: was limiting your imaginative capabilities to me from an outside
• 8:43
  Speaker 1: thank you eaves. She also once like took off no joke,
• 8:48
  Speaker 1: like fifteen points because I used Shar Truce, you know, painting,
• 8:51
  Speaker 1: and she was like everyone hates star Truce. Wow. Still
• 8:57
  Speaker 1: it really didn't like you. Yeah. I suspect it's because
• 9:02
  Speaker 1: my older brother really had a bad reputation. Never would
• 9:08
  Speaker 1: listen to this, but the teachers would always be like, oh,
• 9:10
  Speaker 1: you're related to him, and it was there was just
• 9:13
  Speaker 1: like a c But I have no idea. It could
• 9:18
  Speaker 1: be she just didn't like shar troops. Anyway, I'm delving
• 9:22
  Speaker 1: a lot to my personal issues here today, but we
• 9:26
  Speaker 1: are talking about some sculpting and someone who was actually
• 9:28
  Speaker 1: really good at it. Who did you bring for us? Today,
• 9:31
  Speaker 1: Eves I brought me to vote Warwick Fuller. So there
• 9:35
  Speaker 1: is a little bit of a segue between the horror
• 9:37
  Speaker 1: conversation we were having earlier as well as the sculpting conversation,
• 9:40
  Speaker 1: because she was a sculptor, she was a black woman,
• 9:43
  Speaker 1: and she lived in the US and in Europe. But yeah,
• 9:46
  Speaker 1: a lot of her work was pretty related to the
• 9:48
  Speaker 1: horrors of reality and the visualizations the imagery, and her
• 9:53
  Speaker 1: work was just, you know, very visceral, very real, very
• 9:58
  Speaker 1: raw and emotional all and expressive in many ways that
• 10:02
  Speaker 1: was related to horrors and in tragedies and and things
• 10:06
  Speaker 1: like that, even though some of her work was also
• 10:08
  Speaker 1: helpful and optimistic and inspiring and positive and uplifting and
• 10:11
  Speaker 1: all of those other words that can be counters to
• 10:13
  Speaker 1: things like horror. But yeah, so she was the first
• 10:17
  Speaker 1: black woman artist to receive a US federal commission. Her
• 10:20
  Speaker 1: work is kind of considered a precursor to the Harlem Renaissance.
• 10:23
  Speaker 1: She worked in the nineteenth century and in the twentieth century,
• 10:27
  Speaker 1: and she had quite a career that spanned over like
• 10:31
  Speaker 1: seventy years. So I think there's a lot to talk
• 10:34
  Speaker 1: about with her today, and I'm excited to bring her
• 10:36
  Speaker 1: to the table. Yeah, this was another person that I
• 10:38
  Speaker 1: unfortunately never heard of, and I'm glad you brought her
• 10:41
  Speaker 1: to our attention. And I really loved her art and
• 10:45
  Speaker 1: I loved the quotes about like people would say the
• 10:48
  Speaker 1: horror of her art, and because I am such a
• 10:50
  Speaker 1: big horror fan, so I really enjoyed learning more about
• 10:54
  Speaker 1: her and I'm excited to share her story with the listeners. Also,
• 10:59
  Speaker 1: as I was reading some of her articles, I'd like
• 11:01
  Speaker 1: to imagine because she did go back from Paris to
• 11:04
  Speaker 1: to the US a couple of times, and I'm like, man,
• 11:07
  Speaker 1: she for all the bad things. I wonder what it
• 11:10
  Speaker 1: was like to live in that time frame, which is
• 11:13
  Speaker 1: such a romantic time frame for to be in Paris.
• 11:16
  Speaker 1: And again, like I know, we'll talk a little more
• 11:18
  Speaker 1: about it, but her coming back to the U s
• 11:20
  Speaker 1: seems so sad. Yeah, it did seem sad, But I
• 11:24
  Speaker 1: think there is also the harsh reality and like you said, well,
• 11:26
  Speaker 1: we'll get to a little bit later, but there were
• 11:28
  Speaker 1: a lot of black artists who did go to Europe
• 11:30
  Speaker 1: in terms of it being like an exit for them
• 11:33
  Speaker 1: from the terror of the United States at the time
• 11:35
  Speaker 1: and the terrorism in the United States at the time,
• 11:38
  Speaker 1: but also there were the realities that like, oh, white
• 11:41
  Speaker 1: people still existed, and we're still racist and in Europe,
• 11:45
  Speaker 1: and and and not white people as well, you know
• 11:48
  Speaker 1: who also harbord prejudices and stereotypes about black people. So
• 11:55
  Speaker 1: you know, it's not like everything completely went away. And
• 11:57
  Speaker 1: and you know, when black artists went into exile, are
• 12:00
  Speaker 1: just left the United States to what they would perceive
• 12:02
  Speaker 1: was better lives or better abilities to study. Um that
• 12:05
  Speaker 1: they didn't have hardships as well, they still did. There
• 12:08
  Speaker 1: is like an element of like fantastic nous or mythology
• 12:13
  Speaker 1: I think in the black artists going to Europe, Like
• 12:15
  Speaker 1: it is very like this person lived in a cabin
• 12:19
  Speaker 1: and this is the cabin that they lived in while
• 12:21
  Speaker 1: they were in France, and they wrote this novel there.
• 12:24
  Speaker 1: And that's what I think about those stories a lot
• 12:26
  Speaker 1: of times, though I know the realities of why they
• 12:29
  Speaker 1: had to go there. In a lot of I like
• 12:33
  Speaker 1: that meet up a Warick Fuller's stories as part of
• 12:37
  Speaker 1: that lineage people who did kind of go between the
• 12:41
  Speaker 1: coasts or the sides of the ocean. Yes, yes, yes,
• 12:46
  Speaker 1: well shall we get into her story? Yeah, let's do
• 12:49
  Speaker 1: it okay. So she was born in June of eighteen
• 12:52
  Speaker 1: seventy seven. Her parents were William Warwick and Emma Warwick.
• 12:56
  Speaker 1: He was a barber, she was a hair stylist, and
• 13:00
  Speaker 1: that kind of continued throughout the family, so that with
• 13:02
  Speaker 1: her siblings, you know, they went back to be beauticians
• 13:04
  Speaker 1: and stuff like that, and her brother was also a physician.
• 13:07
  Speaker 1: In an article about Vilma J. Hoover and thinking about
• 13:10
  Speaker 1: how it was like to live as a child for
• 13:13
  Speaker 1: me to Hoover said that she was part of this
• 13:16
  Speaker 1: is a quote, part of a special class of blacks
• 13:19
  Speaker 1: who were involved in catering in real estate business, which
• 13:22
  Speaker 1: is just funny to me for some reason, like the
• 13:24
  Speaker 1: phrase special class of blacks. But yes, the idea is
• 13:28
  Speaker 1: that the family was relatively well off and she lived
• 13:31
  Speaker 1: and generally sheltered, as Vilma J. Hoover goes on to
• 13:34
  Speaker 1: like talk about in this article like lived to generally
• 13:37
  Speaker 1: sheltered kind of experienced childhood in which she didn't spend
• 13:39
  Speaker 1: a lot of time her mother and the beauty shop
• 13:42
  Speaker 1: that she had had a lot of upper class white
• 13:44
  Speaker 1: clientele even and thinking about that Meta was named after
• 13:48
  Speaker 1: one of her mom's clients, the daughter of the former
• 13:52
  Speaker 1: Philly mayor Richard vou So. Yeah, she had two older siblings,
• 13:56
  Speaker 1: William and Blanche, And like I said, her brother eventually
• 14:00
  Speaker 1: became a physician while her sister became a beautician. And
• 14:03
  Speaker 1: her parents encouraged an interest in art really early on
• 14:06
  Speaker 1: when she was a child. And I think that's a
• 14:08
  Speaker 1: through line through a lot of the people we bring,
• 14:10
  Speaker 1: like particularly the artists, and sometimes I think we bring
• 14:13
  Speaker 1: people who are more science focused as well. If their
• 14:15
  Speaker 1: parents were around, had a big hand in the way
• 14:18
  Speaker 1: that they inspired their children and encouraged their children to
• 14:20
  Speaker 1: participate in that thing that they seemed interested in, and
• 14:23
  Speaker 1: that was art for me to vote. Her sister was
• 14:26
  Speaker 1: also interested in art, so she got to look to
• 14:29
  Speaker 1: her for materials and inspiration as well. And she gained
• 14:32
  Speaker 1: a little bit of interest in horror at a young age,
• 14:35
  Speaker 1: just like you and I and he saw her brother,
• 14:38
  Speaker 1: her brother and grandfather told her horror stories, and she
• 14:40
  Speaker 1: went to segregated public schools and she ended up creating
• 14:46
  Speaker 1: a wood carving that was in the Three World's Colombian
• 14:50
  Speaker 1: Exhibition in Chicago, and from there it is just like
• 14:54
  Speaker 1: our art for the rest of our life. She got
• 14:59
  Speaker 1: three years scholars up to the Pennsylvania Museum and School
• 15:01
  Speaker 1: of Industrial Art, which I will absolutely abbreviate to p
• 15:05
  Speaker 1: M s i A or whenever we talk about this
• 15:07
  Speaker 1: in the future in this episode for brevity's sake. But yeah,
• 15:11
  Speaker 1: so there she could earn a teaching degree, which you know,
• 15:14
  Speaker 1: possibly the reason that she could have done that could
• 15:17
  Speaker 1: have been to appease her mother. The school was also
• 15:20
  Speaker 1: a few blocks from where they lived. They had a
• 15:22
  Speaker 1: home on South twelfth Street. Yeah, so she attended p
• 15:25
  Speaker 1: M s i A for about three years until seven.
• 15:28
  Speaker 1: She studied the boat art style, which was the style
• 15:30
  Speaker 1: from France, and while she was at the school, she
• 15:33
  Speaker 1: created a bass relief which was composed of thirty seven
• 15:37
  Speaker 1: medieval figures that was titled Procession of the Arts and
• 15:40
  Speaker 1: Crafts and it was a scholarship requirement, but it also
• 15:44
  Speaker 1: won her a sculpture prize at the school. She got
• 15:46
  Speaker 1: some prizes over her lifetime. You know, she worked a
• 15:49
  Speaker 1: lot with the school, and she really gained this interest
• 15:52
  Speaker 1: in sculpture while she was there, specifically over other art forms.
• 15:56
  Speaker 1: And I did attend to lecture that Framingham University did,
• 16:00
  Speaker 1: and a lot of pictures of her did show up
• 16:02
  Speaker 1: in the even as well as ninety nine school catalog,
• 16:07
  Speaker 1: so there are pictures of her actually in study like um,
• 16:10
  Speaker 1: looking at still lives and and creating her own work
• 16:14
  Speaker 1: from there. So it's pretty interesting. If you're actually interested
• 16:17
  Speaker 1: in looking at her work itself, you can see a
• 16:19
  Speaker 1: lot of that at the dam Fourth Art Museum. Some
• 16:22
  Speaker 1: of those images are online as well, and they also
• 16:25
  Speaker 1: have a bunch of her materials, like her teacher's certificate
• 16:27
  Speaker 1: and diploma, as well as her studies and her process
• 16:30
  Speaker 1: pieces if you're interested in learning more about her work
• 16:32
  Speaker 1: and just like stuff like kind of feeling like a
• 16:34
  Speaker 1: voyeor from the future looking at like what it was
• 16:37
  Speaker 1: like in in the classroom where she studied in there,
• 16:40
  Speaker 1: and the clothes that they're wearing at the time that
• 16:42
  Speaker 1: seems so uncomfortable, Like that's something I always think about.
• 16:45
  Speaker 1: I'm like, oh god, I know how comfortable I like
• 16:48
  Speaker 1: to be when I'm working. And yeah, So if you
• 16:50
  Speaker 1: want to see stuff like that, like that's available for her, fortunately,
• 16:53
  Speaker 1: which isn't the case for a lot of people who
• 16:57
  Speaker 1: you know, the records aren't like that for everybody. So
• 17:00
  Speaker 1: there is stuff that you can still check out from
• 17:01
  Speaker 1: her today. But yeah, anyway, continuing with her story, in
• 17:06
  Speaker 1: she moved to Paris to study, and in Paris she
• 17:10
  Speaker 1: ended up at the American Women's Club. I've seen it
• 17:12
  Speaker 1: called the American Girls Club as well. But either way,
• 17:15
  Speaker 1: she was refused lodging there because she was black ostensibly,
• 17:19
  Speaker 1: and there were Southern women there who would object to
• 17:22
  Speaker 1: her being there. Is what they said, there are Southern
• 17:24
  Speaker 1: women here who don't want you here, which was yeah,
• 17:28
  Speaker 1: it seems like diffusing the blame. But you know, um,
• 17:30
  Speaker 1: she was able to get lodging elsewhere though, so you know,
• 17:33
  Speaker 1: she ended up staying in Europe. She studied under painter
• 17:36
  Speaker 1: and as I always give the disclaimer, my name is French,
• 17:39
  Speaker 1: but I am not and I speak no liquid French.
• 17:41
  Speaker 1: But Rafael Kalen and Jean Antoony and Carla. While in
• 17:45
  Speaker 1: Paris she's studying under them. She also enrolled in the
• 17:49
  Speaker 1: Academy Colorossi, and she studied drawing, went to lectures, went
• 17:54
  Speaker 1: to museums and did all the things that you expect
• 17:58
  Speaker 1: that she would expect people studying art to do. That's fair.
• 18:17
  Speaker 1: So she also had support from painter Henry O. Tanner
• 18:20
  Speaker 1: and W. E. B. Du Bois while she was in
• 18:22
  Speaker 1: France and du Bois um there is like an anecdote
• 18:26
  Speaker 1: of du boys talking to her and saying that he
• 18:29
  Speaker 1: wanted her to focus on black people in her art
• 18:32
  Speaker 1: and really work on depictions of black people because that's
• 18:35
  Speaker 1: what he thought was needed and was needed from her
• 18:37
  Speaker 1: as an artist. But she didn't want to do that.
• 18:39
  Speaker 1: She didn't want to be limited in that way. And
• 18:42
  Speaker 1: while she was even though as we'll talk about like
• 18:47
  Speaker 1: black life, black culture, black experiences, it is something that
• 18:51
  Speaker 1: showed up in her work. But yeah, so she, you know,
• 18:55
  Speaker 1: she kind of took that for what it was in
• 18:57
  Speaker 1: terms of advice from du Bois. But yeah, so while
• 18:59
  Speaker 1: she was in Paris, she was introduced to Augusta Roddon,
• 19:03
  Speaker 1: who I think a lot of people know even if
• 19:06
  Speaker 1: you aren't super into sculpture. No, his sculpture the thinker.
• 19:10
  Speaker 1: This is the guy setting down with his chin on
• 19:12
  Speaker 1: his fist. So yeah, so for this introduction, she took
• 19:15
  Speaker 1: some of her work with her and she showed him
• 19:18
  Speaker 1: her work and photographs of her work, and basically what
• 19:21
  Speaker 1: it ended up was like, hmm, like I like you,
• 19:23
  Speaker 1: and you know, I think you have a lot of
• 19:24
  Speaker 1: talent you have potential. I would like to critique your work,
• 19:28
  Speaker 1: even if that means that I have to come to Paris.
• 19:30
  Speaker 1: And so he was particularly a fan of her sculpture
• 19:33
  Speaker 1: man eating his Heart, which has also been called Secret Sorrow,
• 19:36
  Speaker 1: and you can see a picture of that sculpture online too.
• 19:39
  Speaker 1: It's also pretty expressive, like not completely figurative in terms
• 19:43
  Speaker 1: of you can tell this is really a man eating
• 19:45
  Speaker 1: his heart, but you can't tell us a man eating
• 19:47
  Speaker 1: his heart. So yes, she would continue to seek advice
• 19:51
  Speaker 1: from him for Roddon over the years, and he continued
• 19:54
  Speaker 1: to critique and support her work. And as happens when
• 20:00
  Speaker 1: you get big ups from big people in the art world,
• 20:03
  Speaker 1: her work started to be more noticed as well. So
• 20:05
  Speaker 1: she got more attention in France from art critics and
• 20:09
  Speaker 1: art circles, and she got more attention internationally as well.
• 20:13
  Speaker 1: But yeah, her work was shown in solo exhibits and
• 20:15
  Speaker 1: group shows in France, and for instance, her work was
• 20:19
  Speaker 1: shown and Samuel Being's large Nouveau gallery, and she had
• 20:23
  Speaker 1: begun really moving from this kind of decordive style, from
• 20:27
  Speaker 1: the Beaux art style and moving more into an exploring
• 20:31
  Speaker 1: human emotion, and her work and expression and suffering and
• 20:35
  Speaker 1: in sculpture, and she made that shift to those darker
• 20:39
  Speaker 1: pieces that were a lot more expressive. For instance, in
• 20:43
  Speaker 1: nineteen o two, she completed a piece called The Wretched,
• 20:46
  Speaker 1: which was a bronze portrayal of several people kind of
• 20:49
  Speaker 1: writhing and suffering in different ways. It's pretty expressive as well.
• 20:53
  Speaker 1: But you can also see that one online if you're interested.
• 20:57
  Speaker 1: And for this reason, you know she was working in
• 21:00
  Speaker 1: these subjects and thematics that were moving into that horror space.
• 21:05
  Speaker 1: People began calling her the sculpture of horrors. Of Her
• 21:09
  Speaker 1: success in Paris gained her the attention of people from
• 21:13
  Speaker 1: all over the world, including the USA. So after being
• 21:17
  Speaker 1: in Paris for three years, she ended up returning to
• 21:20
  Speaker 1: Philadelphia in the early nineteen hundreds. She joined the Alumni Association,
• 21:25
  Speaker 1: sharing the exhibits committee, and had alumni exhibits at p M.
• 21:29
  Speaker 1: S i A. But things weren't that smooth going for
• 21:33
  Speaker 1: her when she was in Philadelphia and when she got
• 21:35
  Speaker 1: back to the USA in general, It's not like everybody
• 21:38
  Speaker 1: didn't welcome her with like this big warm hug. Essentially,
• 21:41
  Speaker 1: she did face like difficulties when she came back to
• 21:45
  Speaker 1: the US. In terms of people actually supporting her work
• 21:48
  Speaker 1: and paying her and local art dealers in Philly were
• 21:53
  Speaker 1: rejecting her work, as it has been explained supposedly by
• 21:57
  Speaker 1: them um that she was a quote unquote domestic artist,
• 22:00
  Speaker 1: but likely because of her race. Because you have to
• 22:02
  Speaker 1: remember at this time, it's the early nineteen hundreds, and
• 22:05
  Speaker 1: she had a studio there and she continued to create,
• 22:09
  Speaker 1: and at this time, you know, she was picking up
• 22:11
  Speaker 1: a lot more of just being able to live what
• 22:15
  Speaker 1: was like for her to live as a black woman
• 22:16
  Speaker 1: in the United States at the time. So, in addition
• 22:19
  Speaker 1: to all the European influences that she had from living
• 22:21
  Speaker 1: overseas and and studying the work of people who you know,
• 22:25
  Speaker 1: learned from these masters overseas, Black American life and culture
• 22:29
  Speaker 1: started to influence her work as well. So she held
• 22:33
  Speaker 1: exhibitions at her studio and continue to contribute to local
• 22:37
  Speaker 1: art shows, and in nineteen o seven, she was commissioned
• 22:41
  Speaker 1: to sculpt a series of tableau of Black American historical
• 22:44
  Speaker 1: events for the James Town Her Centennial exhibition in Norfolk, Virginia.
• 22:49
  Speaker 1: I didn't know her centennial was a word until this,
• 22:51
  Speaker 1: but I do now. I didn't know it would beyond
• 22:54
  Speaker 1: by centennial. Yeah, so that's her first. That's where to
• 23:00
  Speaker 1: get to her first. That made her the first Black
• 23:02
  Speaker 1: American woman artists to receive the Federal Commission. I'm gonna
• 23:06
  Speaker 1: say I'm loving the names of her pieces too, Like
• 23:09
  Speaker 1: the Wretched Man eating his own Heart. That sounds like
• 23:14
  Speaker 1: poems I would have written. And and I mean this,
• 23:18
  Speaker 1: and like it sounds like an insult, but that's the
• 23:21
  Speaker 1: kind of thing I was so into. Yeah, in high
• 23:24
  Speaker 1: school I would write these poems like the Wretched Doom. Yeah,
• 23:31
  Speaker 1: and then they got published in the high school newspaper,
• 23:33
  Speaker 1: and it's my great shame, but I must live with it.
• 23:37
  Speaker 1: Do you have those two? I do? You must share them?
• 23:42
  Speaker 1: And Eves, let me tell you there are drawings of
• 23:47
  Speaker 1: like dark butterflies along the edges of these poems that yes, okay,
• 23:55
  Speaker 1: I didn't know. Someone else added that to yours just
• 23:58
  Speaker 1: to give it a little bit of um But okay, Yeah.
• 24:03
  Speaker 1: I love looking at the pictures of the sculptures because
• 24:05
  Speaker 1: it's so beautiful and just the detail in the wave.
• 24:08
  Speaker 1: She makes everything almost like aquatic in that level of
• 24:12
  Speaker 1: like waves and forms of the material on the the
• 24:15
  Speaker 1: regident in itself. It looks like a crashing wave of
• 24:19
  Speaker 1: people suffering, which is really sad, but it's beautiful and
• 24:23
  Speaker 1: detailed at the same time, it meshes so perfectly into
• 24:27
  Speaker 1: whatever form it is, and I loved it. I was like, wow,
• 24:30
  Speaker 1: I can understand the names makes sense because it makes
• 24:33
  Speaker 1: you feel that way, but it's beauty is a whole
• 24:36
  Speaker 1: different level of that horror. So it's gorgeous. Her work
• 24:39
  Speaker 1: is gorgeous, and it makes me sad that it's not
• 24:44
  Speaker 1: more well known. I mean, it is known, but it's
• 24:46
  Speaker 1: not well known, and it should be. She should have
• 24:48
  Speaker 1: been as big as Rodan in that sense of like,
• 24:50
  Speaker 1: this conversation is huge. What she did and what she
• 24:53
  Speaker 1: was sculpting was cultural is so gorgeous. It is. Yeah,
• 24:59
  Speaker 1: definitely clearly was you know, very practiced and like really
• 25:03
  Speaker 1: cared about the art form. And yeah, I agree about
• 25:08
  Speaker 1: the titles to like, I really like the titles and
• 25:11
  Speaker 1: it's like they betray exactly well of course, their interpretations
• 25:15
  Speaker 1: and like many different things you can derive from a
• 25:17
  Speaker 1: work of art, but it's like, you know, she wasn't
• 25:19
  Speaker 1: cryptic about the titles, is what I'm trying to say.
• 25:22
  Speaker 1: She was like, no, this is dark, and you're gonna
• 25:25
  Speaker 1: be able to tell that from the title even before
• 25:27
  Speaker 1: seeing the work. So yeah, you know, like I said,
• 25:31
  Speaker 1: she continued to create art, but she was also focused
• 25:34
  Speaker 1: on her family life. She did have children. She eventually
• 25:37
  Speaker 1: had children. In nineteen o nine, she married Dr Solomon
• 25:41
  Speaker 1: cy Fuller, and he was from Liberia. He was a
• 25:44
  Speaker 1: neurologist and worked at a pathology lab as well, and
• 25:49
  Speaker 1: they moved into a house and Framingham, Massachusetts, and they
• 25:52
  Speaker 1: stayed together for many years. In nineteen ten, her warehouse
• 25:57
  Speaker 1: that she had all her tools in her much yereels
• 26:00
  Speaker 1: in for all of the work that she had done,
• 26:03
  Speaker 1: and while she was in Europe and in the US,
• 26:05
  Speaker 1: that caught on fire, and so she lost a lot
• 26:08
  Speaker 1: of that stuff, which clearly is like a huge loss
• 26:11
  Speaker 1: for her. That's a huge loss for her in terms
• 26:14
  Speaker 1: of the physical things that she had and her inspiration.
• 26:16
  Speaker 1: You know, just looking at your own legacy, I feel
• 26:18
  Speaker 1: like it's so important to you know, she had all
• 26:20
  Speaker 1: those things there for her to go back and look
• 26:22
  Speaker 1: at for herself but also share with with people in
• 26:25
  Speaker 1: the future, but also in terms of her being able
• 26:28
  Speaker 1: to make money. So yeah, it was just it was
• 26:30
  Speaker 1: a loss for her physically, but I think also in
• 26:33
  Speaker 1: a way where it's like it affected her ability to
• 26:35
  Speaker 1: continue to work in in her art form. She for
• 26:39
  Speaker 1: a few years, she was pretty quiet on the art
• 26:42
  Speaker 1: front after that happened, and she already wasn't making a
• 26:46
  Speaker 1: lot of money and was struggling on that front. But yeah,
• 26:50
  Speaker 1: so that didn't completely eradicate her will to create art though,
• 26:55
  Speaker 1: you know, she she didn't stop forever do boys did
• 26:58
  Speaker 1: end up asking her to recreate one of her or
• 27:00
  Speaker 1: previous works, which was Man eating his Heart, which we
• 27:03
  Speaker 1: talked about earlier for the fiftieth anniversary celebration for the
• 27:07
  Speaker 1: Emancipation Proclamation in New York. She didn't do that, but
• 27:11
  Speaker 1: she did instead create an eight foot tall sculpture of
• 27:15
  Speaker 1: three figures called Emancipation. So it was casting flashed at
• 27:19
  Speaker 1: the time. Now if you see it, it's cast in bronze. Now.
• 27:22
  Speaker 1: That was done and I think and is in Harriet
• 27:26
  Speaker 1: Tubman Park now. But it depicts people emerging from the
• 27:29
  Speaker 1: tree of knowledge and is a departure from the more
• 27:32
  Speaker 1: typical symbolism and imagery that surrounded Emancipation at the time,
• 27:38
  Speaker 1: like the breaking of the chains, and then like kneeling
• 27:40
  Speaker 1: to you know, white white abolitionists, and she, you know,
• 27:47
  Speaker 1: continue to kind of create in the realm of social
• 27:51
  Speaker 1: issues and of things that were happening around the world,
• 27:54
  Speaker 1: like war and things that were happening in the United
• 27:56
  Speaker 1: States and in Boston. In nineteen fourteen, she ended up
• 28:00
  Speaker 1: showing new works in a public exhibition for the first
• 28:04
  Speaker 1: time in several years. So throughout the nineteen tens and
• 28:09
  Speaker 1: throughout the nineteen twenties, she did create portraits of friends
• 28:13
  Speaker 1: and family and self portraits and continue to do commission works,
• 28:19
  Speaker 1: and she responded to a lot of those social issues
• 28:23
  Speaker 1: through her work. For instance, she did anti lynching pieces,
• 28:26
  Speaker 1: so lynching was still like so rampant at the time
• 28:30
  Speaker 1: in the United States during that time period, and she
• 28:33
  Speaker 1: did one called Mary Turner a Silent Protest against mob violence,
• 28:37
  Speaker 1: which was in response to the just awful, awful, awful,
• 28:41
  Speaker 1: truly tragic story of Mary Turner, who was violently murdered
• 28:46
  Speaker 1: because she spoke up against her husband's recent lynching. I mean,
• 28:50
  Speaker 1: it's hard like that. That stuff is always hard to
• 28:53
  Speaker 1: go through, like those stories, even though there are so
• 28:55
  Speaker 1: many of them. But she specifically chose this story in
• 28:58
  Speaker 1: which to respond to and it's a pretty poignant piece,
• 29:01
  Speaker 1: and it's just indicative of the things that she was
• 29:05
  Speaker 1: thinking about and the whole like you know, black consciousness
• 29:08
  Speaker 1: and and the things that like a lot of people
• 29:11
  Speaker 1: were thinking about at the time when it came to
• 29:14
  Speaker 1: racism and the interactions between um white and black people
• 29:18
  Speaker 1: the United States at the time. So yeah, she was
• 29:19
  Speaker 1: also hard focused on those subjects through her art. And
• 29:23
  Speaker 1: her work has kind of thought of as a precursor
• 29:27
  Speaker 1: to the Harlem Renaissance, work in which she wasn't specifically
• 29:30
  Speaker 1: in the city, but she was still creating work during
• 29:34
  Speaker 1: that period and she knew what was happening in Harlem Renaissance.
• 29:37
  Speaker 1: And I should note here though that not everybody was
• 29:44
  Speaker 1: a fan of her work, as to be expected. It's like,
• 29:47
  Speaker 1: you know, not everything is everybody's cup of tea. But
• 29:50
  Speaker 1: for instance, in his book is the New Negro, Elaine
• 29:54
  Speaker 1: Locke called her work, in addition to other people's work,
• 29:56
  Speaker 1: has waivered between abstract expression, which was imitating and not
• 30:00
  Speaker 1: highly original, and racial expression, which was only experimental. So
• 30:05
  Speaker 1: clearly not a glowing review of her work, but he
• 30:08
  Speaker 1: did end up praising her work. Ethiopia or what has
• 30:11
  Speaker 1: been called Ethiopia Awakening UM, which I think has been
• 30:16
  Speaker 1: called her most known, most well known, or most popular
• 30:19
  Speaker 1: work UM, and it depicts a black woman emerging from
• 30:22
  Speaker 1: this kind of mummy wrap that resembles a piece of
• 30:26
  Speaker 1: Egyptian funerary sculpture. If you look at it, you'll kind
• 30:28
  Speaker 1: of be able to see the links between the two.
• 30:30
  Speaker 1: And I think that that wrap and the emergence from
• 30:34
  Speaker 1: it and the royal symbolism around it can depict so
• 30:37
  Speaker 1: many things. You know, there have been there's been scholarly
• 30:41
  Speaker 1: writing on it, and you know, critics and writers talking
• 30:44
  Speaker 1: about what they felt like it represented. But you can
• 30:46
  Speaker 1: take from it what you will, But I mean, I
• 30:47
  Speaker 1: think things that you can't get from it, or like
• 30:49
  Speaker 1: rebirth removing the constraints of the past while also acknowledging
• 30:53
  Speaker 1: the past and kind of a nod to the evolution
• 30:55
  Speaker 1: of Black Americans. So yeah, go on forever if we
• 31:01
  Speaker 1: were to get into all of her like works, because
• 31:03
  Speaker 1: there really are a pleasora of them, UM, even though
• 31:06
  Speaker 1: some of them were UM lost. But she created a
• 31:09
  Speaker 1: bunch of sculptures and continued to create into the nineteen
• 31:12
  Speaker 1: thirties and into the nineteen forties, much of that rooted
• 31:16
  Speaker 1: in African as well as Black American folk learning culture. Yeah,
• 31:20
  Speaker 1: and eventually her husband he he felt ill and and
• 31:25
  Speaker 1: she she didn't care for him, but he died in
• 31:27
  Speaker 1: nineteen fifty three. She also had tuberculosis and it took
• 31:31
  Speaker 1: her a few years to recover from that. But even
• 31:35
  Speaker 1: still she didn't recover. She took more commissions, and she
• 31:38
  Speaker 1: kept creating works like Crucifixion, which was a response to
• 31:43
  Speaker 1: the bombing of the Sixteenth Street Baptist Church in Birming
• 31:45
  Speaker 1: Him in nineteen sixty three. I think a lot of
• 31:48
  Speaker 1: people know that story as well. Well. I don't want
• 31:49
  Speaker 1: to make any assumptions, but that in which for four
• 31:51
  Speaker 1: girls died, that was during an era of so much
• 31:54
  Speaker 1: racial violence that was happening in the United States. So yeah,
• 31:57
  Speaker 1: she died Meta Meta a work. Buller died in in
• 32:01
  Speaker 1: Framingham and has been recognized since. Even though she isn't
• 32:07
  Speaker 1: someone who is a household name to people who are
• 32:10
  Speaker 1: just not our enthusiasts are just kind of more general
• 32:12
  Speaker 1: art enthusiasts at all, But she has been recognized in
• 32:15
  Speaker 1: certain ways and and her part work is in public
• 32:18
  Speaker 1: spaces and also is available to view at museums and
• 32:21
  Speaker 1: online still and like I said, we do have pictures
• 32:23
  Speaker 1: of her herself, which I think is always a nice edition. Yeah,
• 32:27
  Speaker 1: that's the short of her story. I would highly recommend
• 32:44
  Speaker 1: any listeners go look up her art because it really
• 32:47
  Speaker 1: is gorgeous. I'm I was happy because a lot of
• 32:50
  Speaker 1: times when we do these first you're right, there's a
• 32:53
  Speaker 1: lack of images. But they were like a lot of
• 32:56
  Speaker 1: museums and school websites I found that had them. Uh
• 33:00
  Speaker 1: so it's out there and we all recommend you go
• 33:03
  Speaker 1: look it up. Her pieces are so gorgeous, but it
• 33:05
  Speaker 1: also is so interesting to see her timeline from her
• 33:09
  Speaker 1: beginning with her art stuff to that point towards her
• 33:13
  Speaker 1: like the end of her life, because how much she
• 33:15
  Speaker 1: experienced and how much tragedy there was within obviously the
• 33:19
  Speaker 1: black community in the US, but then all around the world,
• 33:22
  Speaker 1: and her like actually being able to do it through art,
• 33:25
  Speaker 1: to show that timeline through art is phenomenal because between
• 33:28
  Speaker 1: that nineteen eighteen lynching, which is so horrific and happened
• 33:31
  Speaker 1: actually in the state of Georgia. It is so horrific
• 33:33
  Speaker 1: and not talked about enough, and why that was so
• 33:36
  Speaker 1: horrific and acknowledging the fact that it was an atrocity
• 33:39
  Speaker 1: to coming to the bombings, which is again towards the
• 33:42
  Speaker 1: biggest part of the civil rights movement where things were
• 33:45
  Speaker 1: happening and people were getting even more angry. Like, it's
• 33:47
  Speaker 1: just such an interesting timeline and I would love to
• 33:51
  Speaker 1: see like all of it laid out. I need to
• 33:53
  Speaker 1: go to the museum. I need to go right now.
• 33:54
  Speaker 1: What's the pandemic? But like it's such a gorgeous tell
• 33:58
  Speaker 1: of what she was thinking and what she was doing,
• 34:01
  Speaker 1: as well as just creating for herself. Like looking at
• 34:03
  Speaker 1: her art, like the Etheriopia Awakening that is a beautiful
• 34:06
  Speaker 1: piece and very historical for her, but it's celebrating was
• 34:11
  Speaker 1: they called it, the Black Pharaohs. That's what they called him.
• 34:13
  Speaker 1: And I think that's amazing, Like she's celebrating these cultures
• 34:16
  Speaker 1: but then also grieving through her art both of these things,
• 34:20
  Speaker 1: and then trying to make a statement at the same time,
• 34:22
  Speaker 1: you know, holding her art and her passion within herself.
• 34:25
  Speaker 1: It's just like you just see the range of emotions.
• 34:27
  Speaker 1: To me, I don't know, maybe I'm just being really
• 34:30
  Speaker 1: over the top about it and dramatic about it, as
• 34:32
  Speaker 1: per usual, but just the level of what you see
• 34:35
  Speaker 1: and just how it arises and being able to see
• 34:38
  Speaker 1: that in her art as glorious as well as I
• 34:41
  Speaker 1: think it's interesting for her to be keyed as the
• 34:43
  Speaker 1: like pre Harlem Renaissance. I don't know much about the
• 34:45
  Speaker 1: Harlem Renaissance, and I really should, like I know that
• 34:48
  Speaker 1: as like the Jazz era in my head, like and
• 34:50
  Speaker 1: and and and it's kind of a different turn to
• 34:53
  Speaker 1: see these sculptures and it's also gorgeous to see as
• 34:56
  Speaker 1: a part of that as well. Yeah, thank you for
• 34:58
  Speaker 1: bringing up that that was in Georgia, because is I
• 35:00
  Speaker 1: think that's one of those moments in which, you know,
• 35:02
  Speaker 1: sometimes we're like, why are these stories so important for
• 35:04
  Speaker 1: us to tell? And why are these people so important
• 35:06
  Speaker 1: for us to lift uplift in these times? And I
• 35:07
  Speaker 1: think when I find connections like that, like, it becomes
• 35:12
  Speaker 1: very visceral to me. Um. I don't think, Samantha, that
• 35:14
  Speaker 1: you should apologize for being emotional about art, because like
• 35:18
  Speaker 1: one like it's it is expressive, you know, the work
• 35:23
  Speaker 1: itself is emotional, but also like you can't help the
• 35:26
  Speaker 1: way that you respond to something and if it really
• 35:28
  Speaker 1: speaks to you in that way, and that's your natural
• 35:30
  Speaker 1: reaction to it, then that's totally understandable. I have cried
• 35:33
  Speaker 1: in many a museum and I actually love that, Like
• 35:38
  Speaker 1: I missed that, Like I wish that this pandemic was
• 35:40
  Speaker 1: over so I can cry in more museums because I
• 35:43
  Speaker 1: think it's it's really cool to be able to see
• 35:45
  Speaker 1: her work online, but there I do think that there's
• 35:47
  Speaker 1: something to be gained from also seeing her work in person,
• 35:50
  Speaker 1: and I would love to be able to. Don't think
• 35:52
  Speaker 1: I have in the past. Definitely not an exhibition completely
• 35:55
  Speaker 1: dedicated to her, but yeah, So I think going back
• 35:59
  Speaker 1: to the George of Pieces, where I started my train
• 36:02
  Speaker 1: of thoughts starting on this is just that that moment
• 36:04
  Speaker 1: of connection is saying like, she didn't live in Georgia,
• 36:07
  Speaker 1: but she was thinking about things that were happening in
• 36:10
  Speaker 1: Georgia at the time, and she was also highly affected
• 36:13
  Speaker 1: by something that was happening on the same, very same
• 36:15
  Speaker 1: soil that I'm walking on today and have spent nearly
• 36:19
  Speaker 1: the entirety of my life on. So I think that
• 36:22
  Speaker 1: that can kind of put things into perspective sometimes, like
• 36:25
  Speaker 1: even when a person's story seems like it's such an
• 36:27
  Speaker 1: arm's length away from you or that god like another
• 36:32
  Speaker 1: story about someone who was responding to like racism of
• 36:34
  Speaker 1: the United States in the twentieth century. But everybody's story
• 36:39
  Speaker 1: is different. And I think that looking at it from
• 36:43
  Speaker 1: her viewpoint and from a viewpoint of sculpture and knowing
• 36:45
  Speaker 1: what she was able to do despite the haters, it's
• 36:50
  Speaker 1: very valuable, right, agree, there are so many things you think, oh,
• 36:55
  Speaker 1: when is that closely and how we need to repair
• 36:58
  Speaker 1: what has happened, and then we still have obviously, and
• 37:01
  Speaker 1: that's part of the atrocity of what I think this situation.
• 37:07
  Speaker 1: Hate lends to that the fact that way back when
• 37:10
  Speaker 1: nineteen eighteen, a massacre happened and they just called it
• 37:13
  Speaker 1: a lynching, and that is not a big enough word
• 37:16
  Speaker 1: for what it was, and it reached her and reached
• 37:20
  Speaker 1: the community as a whole country, Like that's just the
• 37:23
  Speaker 1: significance of this happening in nineteen eighteen alone, just the
• 37:26
  Speaker 1: growth of what that meant and what that was, and
• 37:29
  Speaker 1: what that signified for a whole community, for a whole
• 37:32
  Speaker 1: race of people within a country. There's nothing we can
• 37:36
  Speaker 1: say that's how big of an effect that should have.
• 37:39
  Speaker 1: And and the fact that she did this, and the
• 37:42
  Speaker 1: fact that she alone, like it wasn't until you brought
• 37:44
  Speaker 1: her to us had I ever seen these works? And
• 37:47
  Speaker 1: I'm so upset and so angry that it took this long.
• 37:51
  Speaker 1: And and I love that the school is it Dan
• 37:54
  Speaker 1: Dan Dan for is it art Museum at Framingham? Yeah,
• 37:58
  Speaker 1: that the day actually have realized how valuable this is
• 38:01
  Speaker 1: and trying to collect the pieces to being donated or
• 38:04
  Speaker 1: gifted so they can display and talk about her works,
• 38:07
  Speaker 1: like I can't believe that it is. And a woman
• 38:11
  Speaker 1: who lived for ninety years doing all of this amazing work.
• 38:15
  Speaker 1: We haven't talked about her before today, Like I'm just
• 38:17
  Speaker 1: so upset and not knowing, And then her being that
• 38:20
  Speaker 1: iconic for a huge movement, whether it was the art
• 38:22
  Speaker 1: world or whether it was from the civil rights movement,
• 38:25
  Speaker 1: Like why why are we not talking more about what
• 38:27
  Speaker 1: she did and what she saw and how it impacted
• 38:30
  Speaker 1: her art? But anyway, I'm off my soapbox now we
• 38:35
  Speaker 1: like soapbox, Samantha are you? Oh, don't go home now?
• 38:42
  Speaker 1: Don't be it? You are? That's right? I forgot? Yeah,
• 38:51
  Speaker 1: I mean the power of art And this episode really
• 38:54
  Speaker 1: did make me miss museums. Yeah, really did. You'll be
• 39:00
  Speaker 1: crashing in a museum again. I hope so soon we
• 39:04
  Speaker 1: shall meet again. Is there anything else that we've missed
• 39:09
  Speaker 1: before we wrap it up here? I think that is
• 39:11
  Speaker 1: it for me? Awesome? Well, where can the good listeners
• 39:15
  Speaker 1: find you? As always, you can find me at eastco
• 39:19
  Speaker 1: on Twitter. You can find me at not Apologizing on Instagram.
• 39:23
  Speaker 1: Also on the podcast This Day and History Class, a
• 39:26
  Speaker 1: daily history show about people like you know, meet a
• 39:29
  Speaker 1: vote work fuller. Even though we have a specifically covered
• 39:31
  Speaker 1: are in the show a lot of other super interesting
• 39:33
  Speaker 1: biographies and events that happened that you may want to
• 39:37
  Speaker 1: learn about or may want to learn a little bit
• 39:39
  Speaker 1: more about. And also the show Unpopular, which is about
• 39:41
  Speaker 1: people in history who really booked traditions, booked norms and
• 39:45
  Speaker 1: were persecuted for it and how their stories played out
• 39:47
  Speaker 1: in the importance of those and that is what I got.
• 39:54
  Speaker 1: You can also find Eaves on this very show. Clearly
• 39:57
  Speaker 1: I think we've done like, oh yeah, maybe Tanda sees now, Yeah,
• 40:02
  Speaker 1: I think it's more. Oh yeah, it's more. Yeah, it's
• 40:04
  Speaker 1: not the front door. Have we had a use it's
• 40:07
  Speaker 1: been over a year. Yeah, we're gonna have a belated celebration.
• 40:16
  Speaker 1: I don't know how I'm actually taking the number right,
• 40:20
  Speaker 1: So uh nineteen So okay, so we've done nineteen. At twenty,
• 40:25
  Speaker 1: we'll have to do something, okay, I don't know what
• 40:27
  Speaker 1: the next episode, yes, yes, yes, everybody, everybody gets a cupcake.
• 40:32
  Speaker 1: I don't know. Everybody gets a cupcake. That's how I celebrate.
• 40:38
  Speaker 1: I was thinking of silly hats. I don't know, and
• 40:41
  Speaker 1: we clearly go in different Oh. I celebrate with fattening
• 40:44
  Speaker 1: food directions here. But we guys have to work it out.
• 40:47
  Speaker 1: I feel like in one of the very first episodes
• 40:48
  Speaker 1: we did use we were talking about getting champagne and cheesecake.
• 40:54
  Speaker 1: I don't know, cheesecake was the big cut talk because
• 40:56
  Speaker 1: I love cheesecake. Yeah yeah, I'm I'm here for right,
• 41:00
  Speaker 1: I like toothcakes. I'm just saying that we had a
• 41:02
  Speaker 1: big discussion about cheesecake and how much I love it.
• 41:04
  Speaker 1: Yeah yeah, Oh well, we can figure this out meantime. Listeners,
• 41:11
  Speaker 1: if you would like to contact us, you can our
• 41:13
  Speaker 1: emails Stuff Media, mom Stuff I hurt media dot com.
• 41:15
  Speaker 1: You can also find us on Twitter at mom Stuff
• 41:18
  Speaker 1: podcast or on Instagram at stuff I've Never Told You
• 41:20
  Speaker 1: thanks It's always to our super producer Christina. Thank you, China,
• 41:24
  Speaker 1: and thanks to you for listening stuff I never told you.
• 41:26
  Speaker 1: Protection of I Heart Radio. For more podcasts from My
• 41:29
  Speaker 1: Heart Radio, visit That I Hear Adio, app, Apple podcast,
• 41:31
  Speaker 1: or wherever you listen to your favorite shows.