Oral History Project Podcast

Pioneer Works and BOMB Magazine collaborated on a ten-week workshop for high schoolers from Red Hook Initiative celebrating our Oral History Project.

Part of the The Oral History Project series.

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Pioneer Works’s RHI After-School Program collaborated with BOMB Magazine’s Oral History Project to create a ten-week workshop for high school students examining the major concepts central for collecting, documenting, and preserving the stories of distinguished visual artists of the African Diaspora living in New York City through the study of oral history. As a culminating project, students interviewed two NYC-based artists, Chloë Bass and Salome Asega, and developed a podcast to capture their stories. You can listen to their projects here.

Chloë Bass is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Read her most recent interview in BOMB here.

Salome Asega is an artist and researcher whose practice celebrates dissensus and multivocality. She is currently a Technology Fellow in the Ford Foundation's Creativity and Free Expression program. Salome is also the co-host of the speculative talk show Hyperopia: 20/30 Vision on bel-air radio.

This program was facilitated by Bianca Mońa in collaboration with Pioneer Works, Red Hook Initiative, and BOMB Magazine. This episode was recorded by Ethan Primason. It was produced and edited by Sophie Kazis. Theme music from ketsamusic.com.

Oral History Project

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 cultural producers. 

The Oral History Project is dedicated to collecting, documenting, and preserving the stories of distinguished visual artists of the African Diaspora. The Oral History Project has organized interviews with artists including Jeanne Moutoussamy-Ashe, Melvin Edwards, James Little, Peter Bradley, Eldizer Cortor, Gerald Jackson, Stanley Whitney, Terry Adkins, Melvin Edwards, Adger Cowans, Edward Clark, Kara Walker and Larry Walker, and Wangechi Mutu.  Interviews have been conducted by Mona Hadler, LeRonn P. Brooks, Steve Cannon, Quincy Troupe, Cannon Hersey, Terry Carbone, Stanley Whitney, Alteronce Gumby, Calvin Reed, Michael Brenson, Kalia Brooks, Carrie Mae Weems, Jack Whitten, and Deb Willis.


The Oral History Fellowship is made possible by the Stavros Niarchos Foundation, Cary Brown & Steven Epstein, and generous individuals.

The Oral History Project is supported by Agnes Gund, the Seth Sprague Educational and Charitable 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.

I Want Us To Look More Closely: Chloë Bass Interviewed by Jessica Lynne
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Betsy Sussler on the Oral History Project
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If artists are not given the time and space to tell their own story, others will do it for them.

Oral History Project: Janet Olivia Henry & Sana Musasama
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“When you’re an artist, you bring what you know, what you think, what you’ve experienced, your aesthetic, your ambition, and it doesn’t have to be conscious. In fact it shouldn’t be self-conscious. If the work isn’t speaking to you, if you’re not getting it from what you’re seeing, you’ve failed, and no amount of explanation is going to change that.” —Janet Olivia Henry

“Making our art is the purest thing we do. There are no hidden lies. My work is my truth as I have lived it.”—Sana Musasama

Linda Goode Bryant by Rujeko Hockley
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“I was motivated to pursue a way to change the conditions that were causing Black artists I interfaced with every day to say, ‘They won’t let us, they won’t let us, they won’t let us.’ I got tired of hearing that, and I said, ‘Fuck them! Let’s start a gallery!’ So that’s how JAM got started. It was never about being included.”

—Linda Goode Bryant, “Recollections, Linda Goode Bryant” in Soul of a Nation: Art in the Age of Black Power