Glenn Ligon, Untitled (set of 4), 1992, 25 × 17¼ inches.
They said I wasn’t smooth enough / to beat their sharp machine.
Kenya (Robinson) reflects on the end of her MFA program and becoming a professional artist.
I met Mickalene Thomas a decade ago at the Yale University School of Art and liked her instantly. She was a standout for her energy, drive, open–mindedness, and raw talent. For this interview I visited her in her Brooklyn studio where we were surrounded by a half dozen or so of her new paintings in various stages of development.
Originally published in
Featuring interviews with Pedro Almodovar, Lily Taylor, Suzan-Lori Parks, Gregory Crane, Saint Clair Cemin, Paul Beatty, Martha Rosler, Djur Djura, Nancy Spero, Richard Foreman, Robert Barry, and Edmund White.
Let me tell you first about what it was like being a Black woman poet in the ‘60s, from jump. It meant being invisible. It meant being really invisible. It meant being doubly invisible as a Black feminist woman and it meant being triply indivisible as a Black lesbian and feminist.
Audre Lorde
