Join us for an evening with visual artist Odili Donald Odita and curator Ugochukwu-Smooth C. Nzewi in celebration of Odita’s forthcoming Oral History interview.
The interview will be available online as a part of BOMB’s Oral History Project. Smooth will lead a virtual tour of Odita’s iconic work and chart his life, process, and artistic career. Their conversation will be followed by a Q&A.
This program is made possible, in part, by Humanities New York with support from the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities.
Read an excerpt of Odita’s Oral History here.
In the excerpt, Odita recounts his migration with his parents from Nigeria at the start of the Biafran War, and the deep influence his father, a professor of African art, had on his growth as an artist. Both Odita and Nzewi are Igbo, and they use this cultural background, alongside their American experience, to decipher and articulate a unique position in the West.
—Stephanie E. Goodalle, Oral History Fellow, BOMB
Since 2014, BOMB’s Oral History Project has staged one-on-one interviews with New York City-based visual artists of African descent, conducted by curators, scholars, and visual artists.
Visit the Oral History page here.
The Oral History Project is dedicated to collecting, developing, and preserving the stories of distinguished visual artists of the African Diaspora. The Oral History Project has organized interviews including: Wangechi Mutu by Deborah Willis, Kara Walker & Larry Walker, Edward Clark by Jack Whitten, Adger Cowans by Carrie Mae Weems, Jeanne Moutoussamy-Ashe by Kalia Brooks, Melvin Edwards by Michael Brenson, Terry Adkins by Calvin Reid, Stanley Whitney by Alteronce Gumby, Gerald Jackson by Stanley Whitney, Eldzier Cortor by Terry Carbone, Peter Bradley by Steve Cannon, Quincy Troupe & Cannon Hersey, James Little by LeRonn P. Brooks, William T. Williams by Mona Hadler, Maren Hassinger by Lowery Stokes Sims, and Linda Goode Bryant by Rujeko Hockley.
The Oral History Project is supported by the Seth Sprague Educational and Charitable Foundation, the Dedalus Foundation, Humanities New York with support from the National Endowment for the Humanities, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Any views, findings, conclusions or recommendations expressed in this digital publication do not necessarily represent those of the National Endowment for the Humanities.
The Oral History Project Fellowship is made possible by the Stavros Niarchos Foundation, Cary Brown and Steven Epstein, Beatrice Caracciolo, John Coumantaros, Sally Ann Page, and Toni Ross.