BOMB’s Oral History Project, run by Editor in Chief Betsy Sussler, documents the life stories of New York City’s African-American artists. Forthcoming Histories include: Gerald Jackson, Jeanne Moutoussamy-Ashe, Melvin Edwards, Terry Adkins, and Adger Cowans.
Funded by The Andy Warhol Foundation for the Visual Arts with The New York City Department of Cultural Affairs in partnership with the City Council, with additional funding from the Dedalus Foundation and New York Community Trust, as well as A G Foundation and Toni L. Ross.
BOMB’s Oral History Advisory Panel is Sanford Biggers, Thelma Golden, Kellie Jones, Mickalene Thomas, Carrie Mae Weems, Stanley Whitney, and Jack Whitten.
Gerald Jackson describes life as a black painter in the Bowery, poetry versus hip hop, and the jazz scene of the 1980s.
Deborah Willis Tuesday, September 24, and we are here in Brooklyn at Wangechi Mutu’s studio in Bedford-Stuyvestant. Wangechi Mutu has been a special person in my life since 1994, and I really appreciate the opportunity to work with and learn more about Wangechi.
So, the first question: Where were you born?
Wangechi Mutu I have to say that I’ve been a massive admirer of your work, so this is a little nerve-wracking and wonderful. It’s everything that I dreamed would happen eventually, that we’d have this conversation. I was born in Nairobi, the capital of Kenya, in Nairobi Hospital, the second born in a family of four, and I was raised in Kenya.
Kara Walker talks with her father, artist Larry Walker, for BOMB's Oral History project.
Larry Walker So do the kids at Columbia call you Prof?
Kara Walker They call me Kara like I’m their friendly, cool aunt. We can both introduce ourselves. I’m Kara Walker, and I’m talking with my dad who is—
KW And we are sitting in his studio/guest room and resource room in Lithonia just outside Atlanta, Georgia. Today’s date is November 29th, 2013.
LW This oral history is for BOMB Magazine.
KW How to begin? I have a few questions and notes for you. I think the gist of this is to get a sense of everything: What it is to be an artist; how you and I got to be doing the things that we’re doing, the similarities and differences. I’m actually kind of interested in the internal stuff in paintings.
Edward Clark spent the early part of his painting career in post-war Paris with other ex-pats like Joan Mitchell and Beauford Delaney. When he moved New York in the 1950s, at the suggestion of Al Held, he helped found the Brata Gallery and worked at the prestigious Sydney Janis Gallery where he met everyone from Duchamp to Rothko—who gave the young painters his old stretchers. This past year The Art Institute of Chicago—his alma mater—awarded him their Legends and Legacy Award. Here, Clark talks to his friend and fellow painter, Jack Whitten, about growing up in Louisiana, coming of age in Chicago, heady days in Paris, and living in New York City when the abstract expressionists ruled.