1 00:00:04,880 --> 00:00:08,000 Speaker 1: Hey, this is Annie and Samantha and welcome to STEPHMO. 2 00:00:08,080 --> 00:00:19,000 Speaker 1: Never told your protection of I Heart Radio. Today it 3 00:00:19,160 --> 00:00:22,279 Speaker 1: is time for another edition of Female First. I guess 4 00:00:22,280 --> 00:00:26,520 Speaker 1: this is the first one. Oh yes, it is yes, 5 00:00:26,960 --> 00:00:29,280 Speaker 1: which means we are once again joined by our friend 6 00:00:29,360 --> 00:00:34,479 Speaker 1: and colleague Eves. Hello. Hello, Well, you know last time 7 00:00:34,520 --> 00:00:37,080 Speaker 1: you were on here, you did a very good review 8 00:00:37,600 --> 00:00:39,320 Speaker 1: of a horror movie you've seen recently? Are there to 9 00:00:39,360 --> 00:00:40,840 Speaker 1: be a horror movies you want to give a short 10 00:00:40,880 --> 00:00:43,199 Speaker 1: review up here at the Okay, you're putting me on 11 00:00:43,240 --> 00:00:45,080 Speaker 1: the spot right now. Okay, let me think if I've 12 00:00:45,080 --> 00:00:48,120 Speaker 1: seen any recently. I'm actually I haven't seen any horror 13 00:00:48,120 --> 00:00:50,360 Speaker 1: movies recently. I've been catching up on horror TV. I'm 14 00:00:50,400 --> 00:00:53,000 Speaker 1: just catching up on Dark So that's that's really what 15 00:00:53,040 --> 00:00:54,880 Speaker 1: what's been on my mind lately. But I'm trying to 16 00:00:54,920 --> 00:00:58,440 Speaker 1: think if I've seen a bed horror lately. Probably, but 17 00:00:58,480 --> 00:01:06,520 Speaker 1: I can't conjure one conc right now, what about you, Samantha, 18 00:01:06,560 --> 00:01:10,240 Speaker 1: have you seen any bad? I mean I'm sure I have. 19 00:01:10,520 --> 00:01:13,360 Speaker 1: I keep rewatching the same ones I I did find 20 00:01:13,560 --> 00:01:16,440 Speaker 1: that since I have HBO Max now and you know 21 00:01:16,480 --> 00:01:18,360 Speaker 1: the Rocco with this whole thing where you wouldn't have 22 00:01:18,360 --> 00:01:21,240 Speaker 1: the max part portion, but now it's gotten together and 23 00:01:21,400 --> 00:01:26,120 Speaker 1: those things. I have the Conjuring series, so I started 24 00:01:26,120 --> 00:01:28,680 Speaker 1: all of it because the last one, that's not the 25 00:01:28,760 --> 00:01:31,800 Speaker 1: last one because I don't I guess, said James. One movie. 26 00:01:32,480 --> 00:01:34,560 Speaker 1: I don't know if it's a part of the series, 27 00:01:34,600 --> 00:01:36,440 Speaker 1: but for some reason it's linked to it. It's like 28 00:01:36,560 --> 00:01:42,480 Speaker 1: La la Reina based on that the folk tale. Yeah, 29 00:01:42,600 --> 00:01:45,200 Speaker 1: so I'm watching that. Well, I'm coming up on that 30 00:01:45,240 --> 00:01:46,480 Speaker 1: because I was like, well, I might as well start 31 00:01:46,480 --> 00:01:48,600 Speaker 1: at the beginning and go through all the annabells even 32 00:01:48,600 --> 00:01:51,440 Speaker 1: though some of them are really awful. And then that 33 00:01:51,440 --> 00:01:53,840 Speaker 1: one that's my like finale. Since I've never seen that one, 34 00:01:54,520 --> 00:01:56,559 Speaker 1: I'll tell you about it when I watch it. That 35 00:01:56,640 --> 00:01:59,280 Speaker 1: movie came out. There were two of them by very 36 00:01:59,320 --> 00:02:02,480 Speaker 1: similar names of at the same folklore that came out 37 00:02:02,400 --> 00:02:05,040 Speaker 1: at the same time, and I've seen them both and 38 00:02:05,080 --> 00:02:10,160 Speaker 1: they're vastly different, which is interesting. Probably not the one 39 00:02:10,200 --> 00:02:13,320 Speaker 1: you're about, Okay. I think the one you're about to 40 00:02:13,320 --> 00:02:18,519 Speaker 1: watch is like Pope Scarier and that like jump Scare, Yeah, 41 00:02:18,560 --> 00:02:20,760 Speaker 1: and the other one is much more like under your 42 00:02:20,800 --> 00:02:24,680 Speaker 1: Skin is this guy losing his mind or is there 43 00:02:24,680 --> 00:02:29,560 Speaker 1: actually something like psychological stuff if I'm remember in correctly, 44 00:02:29,639 --> 00:02:32,200 Speaker 1: because yeah, I've also seen a lot of horror movies. 45 00:02:32,400 --> 00:02:35,800 Speaker 1: The Cars of La Lorena. Yeah, yes, I just remember 46 00:02:35,800 --> 00:02:37,560 Speaker 1: it though I have been watching I think I told 47 00:02:37,639 --> 00:02:39,880 Speaker 1: you that I had been watching classic horror movies, um 48 00:02:39,960 --> 00:02:42,639 Speaker 1: lately one of those. I think last time I told 49 00:02:42,639 --> 00:02:46,079 Speaker 1: you I watched Creature from the Black Lagoon, right, But 50 00:02:46,160 --> 00:02:49,600 Speaker 1: when I watched after that was Invisible Man, so and 51 00:02:49,800 --> 00:02:51,960 Speaker 1: that was a treat, Like it definitely had its moments. 52 00:02:52,000 --> 00:02:53,560 Speaker 1: I feel like a lot of those that I have 53 00:02:53,840 --> 00:02:57,959 Speaker 1: one liner takeaways that are just very valuable to think about. 54 00:02:58,480 --> 00:03:00,560 Speaker 1: I think that's too old to give, Like, are not 55 00:03:00,639 --> 00:03:03,560 Speaker 1: silly enough, I'll say to like, you know, give any 56 00:03:03,560 --> 00:03:06,160 Speaker 1: sort of meaningful review that hasn't been done one ninety 57 00:03:06,280 --> 00:03:09,480 Speaker 1: thousand million times before. But I enjoyed it, and like 58 00:03:09,600 --> 00:03:14,280 Speaker 1: it's really fun to like watch horror that's so so 59 00:03:14,280 --> 00:03:17,720 Speaker 1: so lighthearted by today's standards, even though they're so so 60 00:03:17,720 --> 00:03:19,760 Speaker 1: so problematic in so many ways, like when it comes 61 00:03:19,760 --> 00:03:22,640 Speaker 1: to the treatment and depiction of women and black people, 62 00:03:24,040 --> 00:03:27,840 Speaker 1: but like it's also very like, oh wow, we we 63 00:03:27,880 --> 00:03:31,959 Speaker 1: went we went deep into the abyss within of half 64 00:03:32,000 --> 00:03:36,200 Speaker 1: a century. We went deep. We went deep. So I 65 00:03:36,200 --> 00:03:37,880 Speaker 1: feel like we need to do a whole thing about 66 00:03:38,000 --> 00:03:41,880 Speaker 1: bad eighties movies, horror movies like the clown movies that 67 00:03:41,920 --> 00:03:44,320 Speaker 1: they used to do all the time, where they just 68 00:03:44,360 --> 00:03:46,600 Speaker 1: had a person dressing up chasing with a high pitched 69 00:03:46,640 --> 00:03:49,320 Speaker 1: giggle like stuff like that, where it's like it seems 70 00:03:49,320 --> 00:03:51,200 Speaker 1: scary as a kid and you grow up going what 71 00:03:51,240 --> 00:03:54,040 Speaker 1: the gridlins. It's a prime example of that, you're like, 72 00:03:54,120 --> 00:04:00,200 Speaker 1: what the hell is this? Or the leprochron movies. We 73 00:04:00,200 --> 00:04:02,280 Speaker 1: should do. We should watch that as a as a team, 74 00:04:02,360 --> 00:04:09,360 Speaker 1: you all team at tea. Yes, I mean, I'm in. 75 00:04:09,880 --> 00:04:13,880 Speaker 1: I'm in. It'll be interesting because some of them you 76 00:04:13,920 --> 00:04:16,039 Speaker 1: go back and you don't realize, like how messed up 77 00:04:16,040 --> 00:04:20,840 Speaker 1: it was that you watched that. Yeah, yeah, I might 78 00:04:20,880 --> 00:04:22,840 Speaker 1: have talked about this before, but yeah, this Tigmata was 79 00:04:22,880 --> 00:04:24,719 Speaker 1: one of the ones I saw pretty early on in 80 00:04:24,720 --> 00:04:27,120 Speaker 1: the theater, and that was like, that's pretty intense about it. 81 00:04:27,160 --> 00:04:31,880 Speaker 1: I think about it and my today mind thinking about 82 00:04:31,920 --> 00:04:36,599 Speaker 1: as a child, haven't watched that kind of melancholy looks. 83 00:04:40,400 --> 00:04:43,240 Speaker 1: You couldn't see the listeners, but it was the site 84 00:04:43,279 --> 00:04:46,200 Speaker 1: of the pause. Was not an awkward pause. It was 85 00:04:46,240 --> 00:04:51,400 Speaker 1: definitely a moment of reflection of like I saw that 86 00:04:51,440 --> 00:04:54,120 Speaker 1: may be very young too. I don't know. I think 87 00:04:54,160 --> 00:04:58,279 Speaker 1: that's the that one of the troubled lines we walked 88 00:04:58,320 --> 00:05:00,640 Speaker 1: now when you rewatch something that you might have loved 89 00:05:00,640 --> 00:05:04,080 Speaker 1: as a kid or even like not necessarily loved, but watched, 90 00:05:04,120 --> 00:05:05,919 Speaker 1: and then you go back and it's been like, you know, 91 00:05:06,120 --> 00:05:08,640 Speaker 1: fifteen years since you watched it, and you're like, oh god, 92 00:05:09,400 --> 00:05:16,080 Speaker 1: yeah wow. But anyway, hard pivot Before we get into 93 00:05:16,120 --> 00:05:18,280 Speaker 1: this episode, I wanted to ask if any of you 94 00:05:18,320 --> 00:05:22,360 Speaker 1: ever sculpted anything, not seriously, nothing that wasn't from like 95 00:05:22,520 --> 00:05:26,080 Speaker 1: Walmart bought clay, right. But I think the best I've 96 00:05:26,120 --> 00:05:28,279 Speaker 1: done was like a pot where you do the coil 97 00:05:28,320 --> 00:05:32,400 Speaker 1: pot I got. You just made it into a coil 98 00:05:32,640 --> 00:05:34,839 Speaker 1: and welled it up and then you smoothed it out 99 00:05:35,200 --> 00:05:37,080 Speaker 1: before you put it in the kiln. And I remember 100 00:05:37,120 --> 00:05:39,480 Speaker 1: doing that in like the second grade with my art teacher. 101 00:05:39,560 --> 00:05:41,240 Speaker 1: But that was the best I've done. And then you 102 00:05:41,320 --> 00:05:44,480 Speaker 1: paint it after you know fired, they're not gonna give 103 00:05:44,480 --> 00:05:48,440 Speaker 1: you like an actual what are those I don't just 104 00:05:48,640 --> 00:05:52,800 Speaker 1: making swirling motion? You know, Oh yeah, this is really 105 00:05:52,839 --> 00:05:56,479 Speaker 1: bad for like ghosts where she's doing the whole pottery. Oh, 106 00:05:56,720 --> 00:05:58,320 Speaker 1: the wheel, I don't know what. I don't know what 107 00:05:58,360 --> 00:06:01,320 Speaker 1: it's called. I don't know. I'm so glad we're so 108 00:06:01,560 --> 00:06:05,200 Speaker 1: artistic that we know. Um. So instead of doing that 109 00:06:05,240 --> 00:06:07,760 Speaker 1: with pottery, which is how people typically do it, smoothing 110 00:06:07,800 --> 00:06:09,760 Speaker 1: it out, we did the old school like you made 111 00:06:09,800 --> 00:06:11,880 Speaker 1: into a coil and bringing it up into a pot 112 00:06:11,880 --> 00:06:14,080 Speaker 1: and then you smoothed it out. That's the only thing 113 00:06:14,080 --> 00:06:16,880 Speaker 1: that the sculpted in my life. And it wasn't good 114 00:06:17,000 --> 00:06:21,960 Speaker 1: and it didn't hold water. That was a disappointing ending. 115 00:06:22,240 --> 00:06:26,880 Speaker 1: But I think you had the experience. Yeah, the lowest 116 00:06:26,880 --> 00:06:30,080 Speaker 1: grade I ever got in in my primary education heres 117 00:06:30,120 --> 00:06:33,359 Speaker 1: was an art in high school. My art teacher, it 118 00:06:33,440 --> 00:06:36,400 Speaker 1: was like almost comical how much she hated everything I did. 119 00:06:36,800 --> 00:06:38,279 Speaker 1: And we did have a wheel, so I got to 120 00:06:38,360 --> 00:06:41,760 Speaker 1: use that. But one of the funniest experiences I had, 121 00:06:41,800 --> 00:06:45,160 Speaker 1: and that very dreary class for me, was we were 122 00:06:45,200 --> 00:06:47,559 Speaker 1: sculpting something out of I don't know if it was marble, 123 00:06:47,600 --> 00:06:49,600 Speaker 1: but it looked like marble and it was real slow 124 00:06:49,680 --> 00:06:53,680 Speaker 1: going and I had chosen to do a horse. I 125 00:06:53,720 --> 00:06:55,600 Speaker 1: don't know why. I didn't really like horses. I think 126 00:06:55,600 --> 00:06:57,000 Speaker 1: it's because the ring had just come out, and I 127 00:06:57,040 --> 00:06:59,839 Speaker 1: was really into that that's messed up. But it was bad. 128 00:07:00,040 --> 00:07:02,320 Speaker 1: It was bad. I wish I had it and I 129 00:07:02,320 --> 00:07:04,720 Speaker 1: could show it to you. It's awful. But she came 130 00:07:04,800 --> 00:07:06,240 Speaker 1: up behind me and she's like, oh, is that a 131 00:07:06,320 --> 00:07:09,000 Speaker 1: polar bear? And I paused and I looked at it. 132 00:07:09,080 --> 00:07:13,840 Speaker 1: I was like, yes, So I just let her believe 133 00:07:13,920 --> 00:07:17,480 Speaker 1: that I was trying to sculpt a polar bear. When 134 00:07:17,520 --> 00:07:19,760 Speaker 1: you ended, did it still look like a polar bear? 135 00:07:20,520 --> 00:07:23,200 Speaker 1: At that point, I changed my whole direction and I 136 00:07:23,240 --> 00:07:25,440 Speaker 1: was like, yes, it's a polar bear. That's the way 137 00:07:25,440 --> 00:07:29,560 Speaker 1: I'm going to come. And that was probably one of 138 00:07:29,560 --> 00:07:32,640 Speaker 1: the higher grades I got. And then I also did like, um, 139 00:07:32,680 --> 00:07:34,640 Speaker 1: I did a cock face, but it was like a human. 140 00:07:34,680 --> 00:07:37,240 Speaker 1: It was like the drama tragedy face and it was 141 00:07:37,280 --> 00:07:40,360 Speaker 1: all dramatic. Um I liked it. She did not like it. 142 00:07:40,440 --> 00:07:45,800 Speaker 1: She said it was like too intense or something. But anyway, 143 00:07:45,840 --> 00:07:49,040 Speaker 1: I wasn't good either. It sounds like she was limiting 144 00:07:49,080 --> 00:07:54,679 Speaker 1: your imaginative capabilities to me from an outside thank you ease. 145 00:07:55,560 --> 00:07:59,360 Speaker 1: She also once like took off no joke, like fifteen 146 00:07:59,400 --> 00:08:02,640 Speaker 1: points because that us shart truths, you know, painting, and 147 00:08:02,680 --> 00:08:08,560 Speaker 1: she was like, everyone hates star troups. Wow, still it 148 00:08:08,600 --> 00:08:13,640 Speaker 1: really didn't like you. Yeah, yeah, I suspect it's because 149 00:08:13,680 --> 00:08:17,640 Speaker 1: my older brother really had a bad reputation to My 150 00:08:17,720 --> 00:08:20,440 Speaker 1: older brother never would listen to this, but the teachers 151 00:08:20,440 --> 00:08:22,840 Speaker 1: would always be like, oh, you're related to him, and 152 00:08:22,840 --> 00:08:27,440 Speaker 1: it was there was just like a cool but I 153 00:08:27,480 --> 00:08:29,800 Speaker 1: have no idea. It could be she just didn't like 154 00:08:29,880 --> 00:08:34,920 Speaker 1: shar troops. Anyway, I'm delving a lot to my personal 155 00:08:35,000 --> 00:08:38,280 Speaker 1: issues here today, but we are talking about some sculpting 156 00:08:38,360 --> 00:08:41,199 Speaker 1: and someone who was actually really good at it. Who 157 00:08:41,240 --> 00:08:43,839 Speaker 1: did you bring for us today, Eves? I brought me 158 00:08:44,000 --> 00:08:46,520 Speaker 1: to vote Warwick Fuller. So there is a little bit 159 00:08:46,520 --> 00:08:48,839 Speaker 1: of a segue between the horror conversation we were having 160 00:08:48,920 --> 00:08:51,920 Speaker 1: earlier as well as the sculpting conversation, because she was 161 00:08:51,920 --> 00:08:54,600 Speaker 1: a sculptor, she was a black woman, and she lived 162 00:08:54,640 --> 00:08:57,360 Speaker 1: in the US and in Europe. But yeah, a lot 163 00:08:57,400 --> 00:09:00,160 Speaker 1: of her work was pretty related to the horror of 164 00:09:00,240 --> 00:09:05,000 Speaker 1: reality and the visualizations, the imagery, and her work was 165 00:09:05,160 --> 00:09:10,040 Speaker 1: just you know, very visceral, very real, very raw and 166 00:09:10,200 --> 00:09:14,280 Speaker 1: emotional and expressive in many ways that was related to 167 00:09:14,320 --> 00:09:17,480 Speaker 1: horrors and and tragedies and and things like that, even 168 00:09:17,480 --> 00:09:19,880 Speaker 1: though some of her work was also helpful and optimistic 169 00:09:19,880 --> 00:09:23,000 Speaker 1: and inspiring and positive and uplifting and all of those 170 00:09:23,000 --> 00:09:25,679 Speaker 1: other words that can be counters to things like horror. 171 00:09:26,040 --> 00:09:28,959 Speaker 1: But yeah, so she was the first black woman artist 172 00:09:29,040 --> 00:09:31,800 Speaker 1: to receive a US federal commission. Her work is kind 173 00:09:31,800 --> 00:09:35,040 Speaker 1: of considered a precursor to the Harlem Renaissance. She worked 174 00:09:35,160 --> 00:09:38,280 Speaker 1: in the nineteenth century and in the twentieth century, and 175 00:09:38,360 --> 00:09:42,480 Speaker 1: she had quite a career that spanned over like seventy years. 176 00:09:42,480 --> 00:09:45,480 Speaker 1: So I think there's a lot to talk about with 177 00:09:45,520 --> 00:09:48,120 Speaker 1: her today and I'm excited to bring her to the table. Yeah, 178 00:09:48,240 --> 00:09:50,440 Speaker 1: this was another person that I unfortunately never heard of, 179 00:09:50,480 --> 00:09:54,520 Speaker 1: and I'm glad you brought her to our attention. And 180 00:09:54,800 --> 00:09:57,079 Speaker 1: I really loved her art, and I love the quotes 181 00:09:57,120 --> 00:09:59,880 Speaker 1: about like people would say the horror of her art, 182 00:10:00,040 --> 00:10:02,360 Speaker 1: and because I am such a big horror fan, so 183 00:10:02,480 --> 00:10:06,240 Speaker 1: I really enjoyed learning more about her and I'm excited 184 00:10:06,440 --> 00:10:10,120 Speaker 1: to share her story with the listeners. Also, as I 185 00:10:10,160 --> 00:10:12,840 Speaker 1: was reading some of her articles, I'd like to imagine 186 00:10:13,000 --> 00:10:15,920 Speaker 1: because she did go back from Paris to to the 187 00:10:16,040 --> 00:10:18,560 Speaker 1: US a couple of times, and I'm like, man, she 188 00:10:19,600 --> 00:10:21,760 Speaker 1: for all the bad things. I wonder what it was 189 00:10:21,840 --> 00:10:24,720 Speaker 1: like to live in that time frame, which is such 190 00:10:24,720 --> 00:10:27,840 Speaker 1: a romantic time frame for to be in Paris. And again, 191 00:10:27,880 --> 00:10:29,760 Speaker 1: like I know, we'll talk a little more about it, 192 00:10:29,800 --> 00:10:33,439 Speaker 1: but her coming back to the U S seems so sad. Yeah, 193 00:10:33,880 --> 00:10:35,640 Speaker 1: it did seem sad, But I think there was also 194 00:10:35,679 --> 00:10:37,360 Speaker 1: the harsh reality and like you said, well, we'll get 195 00:10:37,360 --> 00:10:39,600 Speaker 1: you a little bit later. But there were a lot 196 00:10:39,640 --> 00:10:41,800 Speaker 1: of black artists who did go to Europe in terms 197 00:10:41,840 --> 00:10:44,240 Speaker 1: of it being like an exit for them from the 198 00:10:44,360 --> 00:10:46,679 Speaker 1: terror of the United States at the time and the 199 00:10:46,760 --> 00:10:50,120 Speaker 1: terrorism in the United States at the time, But also 200 00:10:50,280 --> 00:10:53,360 Speaker 1: there were the realities that like, oh, white people still existed, 201 00:10:53,520 --> 00:10:57,800 Speaker 1: and we're still racist and in Europe, and and and 202 00:10:57,960 --> 00:11:00,720 Speaker 1: not white people as well, you know who also harbord 203 00:11:00,880 --> 00:11:06,080 Speaker 1: prejudices and and stereotypes about black people. So you know, 204 00:11:06,120 --> 00:11:08,880 Speaker 1: it's not like everything completely went away. And and you know, 205 00:11:08,920 --> 00:11:11,520 Speaker 1: when black artists went into exile, are just left the 206 00:11:11,600 --> 00:11:13,880 Speaker 1: United States to what they would perceive as better lives 207 00:11:13,960 --> 00:11:17,120 Speaker 1: or better abilities to study. Um that they didn't have 208 00:11:17,320 --> 00:11:19,959 Speaker 1: hardships as well, they still did. There is like an 209 00:11:19,960 --> 00:11:24,559 Speaker 1: element of like fantastic nous are mythology, I think in 210 00:11:24,600 --> 00:11:27,000 Speaker 1: the black artists going to Europe, like it is very 211 00:11:27,080 --> 00:11:30,800 Speaker 1: like this person lived in a cabin and this is 212 00:11:30,840 --> 00:11:32,679 Speaker 1: the cabin that they lived in while they were in 213 00:11:32,720 --> 00:11:35,840 Speaker 1: France and wrote this novel there. And that's what I 214 00:11:35,840 --> 00:11:37,720 Speaker 1: think about those stories a lot of times, though I 215 00:11:37,760 --> 00:11:41,520 Speaker 1: know the realities of why they had to go there. 216 00:11:41,559 --> 00:11:45,240 Speaker 1: In a lot of I like that meet up a work. 217 00:11:45,280 --> 00:11:50,600 Speaker 1: Fuller's stories is part of that lineage people who did 218 00:11:50,800 --> 00:11:53,800 Speaker 1: kind of go between the coasts or the sides of 219 00:11:53,840 --> 00:11:58,120 Speaker 1: the ocean. Yes, yes, yes, well shall we get into 220 00:11:58,120 --> 00:12:01,440 Speaker 1: her story? Yeah, let's do it, okay. So she was 221 00:12:01,520 --> 00:12:04,960 Speaker 1: born in June of eighteen seventy seven. Her parents were 222 00:12:05,000 --> 00:12:08,120 Speaker 1: William Warwick and Emma Warwick. He was a barber, she 223 00:12:08,240 --> 00:12:12,000 Speaker 1: was a hair stylist, and that kind of continued throughout 224 00:12:12,040 --> 00:12:14,160 Speaker 1: the family, so that with her siblings, you know, they 225 00:12:14,160 --> 00:12:15,880 Speaker 1: went back to be beauticians and stuff like that, and 226 00:12:15,920 --> 00:12:19,040 Speaker 1: her brother was also a physician. In an article about 227 00:12:19,120 --> 00:12:22,720 Speaker 1: Vilma J. Hoover and thinking about how it was like 228 00:12:22,880 --> 00:12:25,520 Speaker 1: to live as a child for me to Hoover said 229 00:12:25,559 --> 00:12:28,600 Speaker 1: that she was part of this is a quote, part 230 00:12:28,640 --> 00:12:31,400 Speaker 1: of a special class of blacks who were involved in 231 00:12:31,480 --> 00:12:34,160 Speaker 1: catering in real estate business, which is just funny to 232 00:12:34,200 --> 00:12:37,200 Speaker 1: me for some reason, like the phrase special class of blacks. 233 00:12:37,240 --> 00:12:40,079 Speaker 1: But yes, the idea is that the family was relatively 234 00:12:40,160 --> 00:12:44,319 Speaker 1: well off and she lived a generally sheltered as Vilma J. 235 00:12:44,440 --> 00:12:46,760 Speaker 1: Hoover goes on to like talk about in this article, 236 00:12:46,840 --> 00:12:49,960 Speaker 1: like lived to generally sheltered kind of experienced childhood in 237 00:12:49,960 --> 00:12:52,000 Speaker 1: which she didn't spend a lot of time her mother 238 00:12:52,160 --> 00:12:54,080 Speaker 1: and the beauty shop that she had had a lot 239 00:12:54,200 --> 00:12:58,640 Speaker 1: of upper class white clientele even and thinking about that, 240 00:12:58,760 --> 00:13:01,760 Speaker 1: Meta was named after one of her mom's clients, the 241 00:13:01,920 --> 00:13:05,680 Speaker 1: daughter of the former Philly mayor Richard Vaux. So yeah, 242 00:13:05,720 --> 00:13:09,640 Speaker 1: she had two older siblings, William and Blanche, And like 243 00:13:09,679 --> 00:13:12,160 Speaker 1: I said, her brother eventually became a physician while her 244 00:13:12,200 --> 00:13:15,720 Speaker 1: sister became a beautician. And her parents encouraged an interest 245 00:13:15,880 --> 00:13:18,360 Speaker 1: in art really early on when she was a child. 246 00:13:18,400 --> 00:13:20,120 Speaker 1: And I think that's a through line through a lot 247 00:13:20,160 --> 00:13:23,120 Speaker 1: of the people we bring, like particularly the artists, and 248 00:13:23,160 --> 00:13:25,200 Speaker 1: sometimes I think we bring people who are more science 249 00:13:25,240 --> 00:13:27,680 Speaker 1: focused as well. If their parents were around, had a 250 00:13:27,720 --> 00:13:30,520 Speaker 1: big hand in the way that they inspired their children 251 00:13:30,520 --> 00:13:32,599 Speaker 1: and encouraged their children to participate in that thing that 252 00:13:32,640 --> 00:13:35,360 Speaker 1: they seemed interested in, and that was art for me 253 00:13:35,400 --> 00:13:38,160 Speaker 1: to vote. Her sister was also interested in art, so 254 00:13:38,400 --> 00:13:41,440 Speaker 1: she got to look to her for materials and inspiration 255 00:13:41,480 --> 00:13:44,080 Speaker 1: as well. And she gained a little bit of interest 256 00:13:44,120 --> 00:13:46,480 Speaker 1: in horror at a young age, just like you and I, 257 00:13:47,000 --> 00:13:50,120 Speaker 1: and he saw her brother, her brother and grandfather told 258 00:13:50,160 --> 00:13:54,800 Speaker 1: her horror stories. And she went to segregated public schools 259 00:13:54,920 --> 00:13:58,160 Speaker 1: and she ended up creating a wood carving that was 260 00:13:58,320 --> 00:14:04,640 Speaker 1: in the World Colombian Expedition in Chicago. And from there 261 00:14:04,760 --> 00:14:07,320 Speaker 1: it is just like art, art art, art art for 262 00:14:07,400 --> 00:14:10,199 Speaker 1: the rest of our life. She got a three year 263 00:14:10,240 --> 00:14:13,400 Speaker 1: scholarship to the Pennsylvania Museum in School of Industrial Art, 264 00:14:13,440 --> 00:14:16,520 Speaker 1: which I will absolutely abbreviate to p M. S i 265 00:14:16,600 --> 00:14:19,120 Speaker 1: A or whenever we talk about this in the future 266 00:14:19,360 --> 00:14:22,080 Speaker 1: in this episode for brevity sake. But yeah, so there 267 00:14:22,080 --> 00:14:25,720 Speaker 1: she could earn a teaching degree, which you know, possibly 268 00:14:25,800 --> 00:14:28,040 Speaker 1: the reason that she could have done that could have 269 00:14:28,080 --> 00:14:30,840 Speaker 1: been to appease her mother. The school was also a 270 00:14:30,880 --> 00:14:33,000 Speaker 1: few blocks from where they lived. They had a home 271 00:14:33,040 --> 00:14:36,480 Speaker 1: on South twelfth Street. Yeah, so she attended p M. 272 00:14:36,520 --> 00:14:39,560 Speaker 1: S i A for about three years until seven. She 273 00:14:39,560 --> 00:14:42,280 Speaker 1: studied the boat art style, which was the style from France. 274 00:14:42,760 --> 00:14:45,080 Speaker 1: And while she was at the school, she created a 275 00:14:45,120 --> 00:14:48,840 Speaker 1: bass relief which was composed of thirty seven medieval figures 276 00:14:49,200 --> 00:14:52,440 Speaker 1: that was titled Procession of the Arts and Crafts and 277 00:14:52,520 --> 00:14:55,160 Speaker 1: it was a scholarship requirement, but it also won her 278 00:14:55,160 --> 00:14:58,080 Speaker 1: a sculpture prize at the school. She got some prizes 279 00:14:58,120 --> 00:14:59,920 Speaker 1: over her lifetime. You know, she worked a lot with 280 00:15:00,080 --> 00:15:03,720 Speaker 1: school and she really gained this interest in sculpture while 281 00:15:03,760 --> 00:15:07,760 Speaker 1: she was there, specifically over other art forms. And I 282 00:15:07,800 --> 00:15:12,000 Speaker 1: did attend to lecture that Framingham University did and a 283 00:15:12,040 --> 00:15:13,800 Speaker 1: lot of pictures of her did show up in the 284 00:15:15,840 --> 00:15:18,800 Speaker 1: as well as nine nine school catalog, So there are 285 00:15:18,840 --> 00:15:22,000 Speaker 1: pictures of her actually in study like um looking at 286 00:15:22,120 --> 00:15:25,240 Speaker 1: still lives and and creating her own work from there. 287 00:15:25,760 --> 00:15:28,120 Speaker 1: So it's pretty interesting. If you're actually interested in looking 288 00:15:28,160 --> 00:15:30,680 Speaker 1: at her work itself, you can see a lot of 289 00:15:30,720 --> 00:15:33,240 Speaker 1: that at the Dan Fourth Art Museum. Some of those 290 00:15:33,320 --> 00:15:36,200 Speaker 1: images are online as well, and they also have a 291 00:15:36,200 --> 00:15:38,960 Speaker 1: bunch of her materials like her teacher's certificate and diploma 292 00:15:39,000 --> 00:15:41,200 Speaker 1: as well as her studies and her process pieces. If 293 00:15:41,200 --> 00:15:43,520 Speaker 1: you're interested in learning more about her work and just 294 00:15:43,680 --> 00:15:45,880 Speaker 1: like stuff like kind of feeling like a voyor from 295 00:15:45,880 --> 00:15:49,040 Speaker 1: the future looking at like what it was like in 296 00:15:49,040 --> 00:15:51,200 Speaker 1: in the classroom where she studied in there, and the 297 00:15:51,200 --> 00:15:54,080 Speaker 1: clothes that they're wearing at the time, that seems so uncomfortable, 298 00:15:54,120 --> 00:15:56,600 Speaker 1: Like that's something I always think about. I'm like, oh God, 299 00:15:57,800 --> 00:16:00,080 Speaker 1: I know how comfortable I like to be when I'm working. 300 00:16:00,160 --> 00:16:02,400 Speaker 1: And yeah, so if you want to see stuff like that, 301 00:16:02,480 --> 00:16:05,440 Speaker 1: like that's available for her, fortunately, which isn't the case 302 00:16:05,480 --> 00:16:08,880 Speaker 1: for a lot of people who you know, the records 303 00:16:08,920 --> 00:16:11,600 Speaker 1: aren't like that for everybody. So there is stuff that 304 00:16:11,600 --> 00:16:13,800 Speaker 1: you can still check out from her today. But yeah, anyway, 305 00:16:13,840 --> 00:16:17,880 Speaker 1: continuing with her story, in eight she moved to Paris 306 00:16:17,960 --> 00:16:21,880 Speaker 1: to study, and in Paris she ended up at the 307 00:16:21,880 --> 00:16:24,640 Speaker 1: American Women's Club. I've seen it called the American Girls 308 00:16:24,640 --> 00:16:27,520 Speaker 1: Club as well, but either way, she was refused lodging 309 00:16:27,560 --> 00:16:31,160 Speaker 1: there because she was black ostensibly, and there were Southern 310 00:16:31,240 --> 00:16:34,240 Speaker 1: women there who would object to her being there. Is 311 00:16:34,320 --> 00:16:36,360 Speaker 1: what they said. There are other women here who don't 312 00:16:36,360 --> 00:16:39,840 Speaker 1: want you here, which was, yeah, it seems like diffusing 313 00:16:39,880 --> 00:16:42,320 Speaker 1: the blame, but you know, um, she was able to 314 00:16:42,320 --> 00:16:44,960 Speaker 1: get lodging elsewhere though, so you know, she ended up 315 00:16:44,960 --> 00:16:48,200 Speaker 1: staying in Europe, she studied under painter and as I 316 00:16:48,200 --> 00:16:50,200 Speaker 1: always give the disclaimer, my name is French, but I 317 00:16:50,240 --> 00:16:53,440 Speaker 1: am not and I speak no liquid French. But Rafael 318 00:16:53,520 --> 00:16:56,760 Speaker 1: Kalen and Johan Antuny and Carla while in Paris she's 319 00:16:56,760 --> 00:17:00,240 Speaker 1: studying under them. She also enrolled in that out of 320 00:17:00,240 --> 00:17:05,320 Speaker 1: Me Colorosi, and she studied drawing, went to lectures, went 321 00:17:05,359 --> 00:17:07,840 Speaker 1: to museums, and did all the things that you expect 322 00:17:09,080 --> 00:17:13,560 Speaker 1: that she would expect people studying arts to do. That's fair. 323 00:17:28,160 --> 00:17:31,040 Speaker 1: So she also had support from painter Henry O. Tanner 324 00:17:31,160 --> 00:17:33,439 Speaker 1: and W. E. B. Du Bois while she was in 325 00:17:33,520 --> 00:17:37,480 Speaker 1: France and du Bois um there is like an anecdote 326 00:17:37,520 --> 00:17:40,320 Speaker 1: of du Boys talking to her and saying that he 327 00:17:40,359 --> 00:17:42,879 Speaker 1: wanted her to focus on black people in her art 328 00:17:42,920 --> 00:17:46,240 Speaker 1: and really work on depictions of black people because that's 329 00:17:46,240 --> 00:17:48,000 Speaker 1: what he thought was needed and was needed from her 330 00:17:48,040 --> 00:17:50,400 Speaker 1: as an artist. But she didn't want to do that. 331 00:17:50,600 --> 00:17:53,159 Speaker 1: She didn't want to be limited in that way. And 332 00:17:53,600 --> 00:17:57,520 Speaker 1: while she was, even though as we'll talk about like 333 00:17:58,440 --> 00:18:02,560 Speaker 1: black life, black hold your Black experiences is something that 334 00:18:02,640 --> 00:18:06,199 Speaker 1: showed up in her work. But yeah, so she you know, 335 00:18:06,320 --> 00:18:08,240 Speaker 1: she kind of took that for what it was in 336 00:18:08,359 --> 00:18:10,520 Speaker 1: terms of advice from two boys. But yeah. So while 337 00:18:10,600 --> 00:18:13,600 Speaker 1: she was in Paris, she was introduced to Augusta Roddon, 338 00:18:14,240 --> 00:18:17,399 Speaker 1: who I think a lot of people know, even if 339 00:18:17,440 --> 00:18:21,040 Speaker 1: you aren't super into sculpture. No, his sculpture the thinker. 340 00:18:21,600 --> 00:18:23,639 Speaker 1: This is the guy sitting down with his chin on 341 00:18:23,640 --> 00:18:26,600 Speaker 1: his fist. So yeah, So for this introduction, she took 342 00:18:26,640 --> 00:18:29,119 Speaker 1: some of her work with her and she showed him 343 00:18:29,160 --> 00:18:32,080 Speaker 1: her work and photographs of her work, and basically what 344 00:18:32,200 --> 00:18:34,200 Speaker 1: it ended up was like, hmm, like, I like you, 345 00:18:34,200 --> 00:18:35,840 Speaker 1: you know, I think you have a lot of talent, 346 00:18:35,960 --> 00:18:39,160 Speaker 1: you have potential. I would like to critique your work, 347 00:18:39,200 --> 00:18:41,119 Speaker 1: even if that means that I have to come to Paris. 348 00:18:41,240 --> 00:18:44,120 Speaker 1: And so he was particularly a fan of her sculpture 349 00:18:44,560 --> 00:18:47,040 Speaker 1: Man eating his Heart, which has also been called Secret Sorrow, 350 00:18:47,040 --> 00:18:49,760 Speaker 1: and you can see a picture of that sculpture online too. 351 00:18:49,800 --> 00:18:54,480 Speaker 1: It's also pretty expressive, like not completely figurative in terms 352 00:18:54,480 --> 00:18:56,560 Speaker 1: of you can tell this is really a man eating 353 00:18:56,640 --> 00:18:58,400 Speaker 1: his heart, but you can't tell us a man eating 354 00:18:58,440 --> 00:19:02,000 Speaker 1: his heart. So yes, she would continue to seek advice 355 00:19:02,080 --> 00:19:05,680 Speaker 1: from him for Roddan over the years, and he continued 356 00:19:05,680 --> 00:19:10,800 Speaker 1: to critique and support her work and as happens when 357 00:19:10,800 --> 00:19:13,479 Speaker 1: you get big ups from big people in the art world, 358 00:19:13,800 --> 00:19:16,560 Speaker 1: her work started to be more noticed as well. So 359 00:19:16,640 --> 00:19:19,720 Speaker 1: she got more attention in France from art critics and 360 00:19:19,880 --> 00:19:23,480 Speaker 1: art circles, and she got more attention internationally as well. 361 00:19:23,800 --> 00:19:26,480 Speaker 1: But yeah, her work was shown in solo exhibits and 362 00:19:26,520 --> 00:19:30,080 Speaker 1: group shows in France, and for instance, her work was 363 00:19:30,119 --> 00:19:33,840 Speaker 1: shown and Samuel Being's Lae Nouveau gallery, and she had 364 00:19:33,920 --> 00:19:37,880 Speaker 1: begun really moving from this kind of decordive style, from 365 00:19:38,160 --> 00:19:41,639 Speaker 1: the Beaux art style and moving more into an exploring 366 00:19:41,760 --> 00:19:45,480 Speaker 1: human emotion and her work and expression and suffering and 367 00:19:45,760 --> 00:19:49,600 Speaker 1: in sculpture, and she made that shift to those darker 368 00:19:50,200 --> 00:19:53,680 Speaker 1: pieces that were a lot more expressive. For instance, in 369 00:19:53,800 --> 00:19:57,040 Speaker 1: nineteen o two she completed a piece called The Wretched, 370 00:19:57,119 --> 00:20:00,480 Speaker 1: which was a bronze portrayal of several people kind of 371 00:20:00,480 --> 00:20:04,520 Speaker 1: writhing and suffering in different ways. It's pretty expressive as well. 372 00:20:04,560 --> 00:20:07,320 Speaker 1: But you can also see that one online if you're interested. 373 00:20:07,880 --> 00:20:10,359 Speaker 1: And for this reason, you know she was working in 374 00:20:10,960 --> 00:20:16,000 Speaker 1: these subjects and thematics that were moving into that horror space. 375 00:20:16,080 --> 00:20:20,200 Speaker 1: People began calling her the sculpture of horrors. Of her 376 00:20:20,240 --> 00:20:24,200 Speaker 1: success in Paris gained her the attention of people from 377 00:20:24,240 --> 00:20:27,680 Speaker 1: all over the world, including the USA. So after being 378 00:20:27,720 --> 00:20:30,800 Speaker 1: in Paris for three years, she ended up returning to 379 00:20:30,800 --> 00:20:35,160 Speaker 1: Philadelphia in the early nineteen hundreds. She joined the Alumni Association, 380 00:20:36,119 --> 00:20:40,280 Speaker 1: sharing the exhibits committee, and had alumni exhibits at p M. 381 00:20:40,440 --> 00:20:44,600 Speaker 1: S i A. But things weren't that smooth going for 382 00:20:44,640 --> 00:20:46,359 Speaker 1: her when she was in Philadelphia, and when she got 383 00:20:46,359 --> 00:20:48,840 Speaker 1: back to the USA in general, it's not like everybody 384 00:20:48,880 --> 00:20:52,200 Speaker 1: didn't welcome her with like this big warm hug. Essentially, 385 00:20:52,680 --> 00:20:56,119 Speaker 1: she did face like difficulties when she came back to 386 00:20:56,160 --> 00:20:58,639 Speaker 1: the US in terms of people actually supporting her work 387 00:20:59,040 --> 00:21:04,480 Speaker 1: and paying her and local art dealers in Philly were 388 00:21:04,480 --> 00:21:07,680 Speaker 1: rejecting her work, as it has been explained supposedly by 389 00:21:07,720 --> 00:21:10,679 Speaker 1: them um that she was a quote unquote domestic artist, 390 00:21:10,800 --> 00:21:13,480 Speaker 1: but likely because of her race, because you have to 391 00:21:13,520 --> 00:21:16,200 Speaker 1: remember at this time, it's the early nineteen hundreds, and 392 00:21:16,280 --> 00:21:19,440 Speaker 1: she had a studio there and she continued to create, 393 00:21:20,119 --> 00:21:22,639 Speaker 1: and at this time, you know, she was picking up 394 00:21:22,640 --> 00:21:25,480 Speaker 1: a lot more of just being able to live what 395 00:21:25,880 --> 00:21:27,359 Speaker 1: was like for her to live as a black woman 396 00:21:27,400 --> 00:21:29,719 Speaker 1: in the United States at the time. So in addition 397 00:21:29,760 --> 00:21:32,240 Speaker 1: to all the European influences that she had from living 398 00:21:32,280 --> 00:21:35,840 Speaker 1: overseas and and studying the work of people who you know, 399 00:21:36,359 --> 00:21:40,119 Speaker 1: learned from these masters overseas. Black American life and culture 400 00:21:40,119 --> 00:21:43,760 Speaker 1: started to influence her work as well, so she held 401 00:21:43,840 --> 00:21:47,840 Speaker 1: exhibitions at her studio and continue to contribute to local 402 00:21:47,960 --> 00:21:52,000 Speaker 1: art shows, and in nineteen o seven, she was commissioned 403 00:21:52,000 --> 00:21:55,520 Speaker 1: to sculpt a series of tableau of Black American historical 404 00:21:55,520 --> 00:22:00,080 Speaker 1: events for the Jamestown per Centennial Exhibition in Norfolk, Virginia. You, 405 00:22:00,320 --> 00:22:02,399 Speaker 1: I didn't know ter centennial was a word until this, 406 00:22:02,560 --> 00:22:09,320 Speaker 1: but I do now. I don't know bicentennial. Yeah, So 407 00:22:09,359 --> 00:22:11,520 Speaker 1: that's her first. That's where we get to her first. 408 00:22:11,760 --> 00:22:14,240 Speaker 1: That made her the first Black American woman artists to 409 00:22:14,320 --> 00:22:17,639 Speaker 1: receive the federal commission. I'm gonna say I'm loving the 410 00:22:17,720 --> 00:22:22,439 Speaker 1: names of her pieces too, Like the Wretched Man eating 411 00:22:22,560 --> 00:22:26,679 Speaker 1: his own heart. That sounds like poems I would have written, 412 00:22:26,680 --> 00:22:30,280 Speaker 1: and and I mean this, and like it sounds like 413 00:22:30,320 --> 00:22:32,520 Speaker 1: an insult, but that's the kind of thing I was 414 00:22:32,560 --> 00:22:36,400 Speaker 1: so into. Yeah, in high school I would write these 415 00:22:36,400 --> 00:22:42,000 Speaker 1: poems and like the Wretched doom nuts Yeah, and then 416 00:22:42,040 --> 00:22:44,880 Speaker 1: they got published in the high school newspaper, and it's 417 00:22:44,920 --> 00:22:48,320 Speaker 1: my great shame, but I must live with it. Do 418 00:22:48,359 --> 00:22:53,080 Speaker 1: you have those still? I do? You must share them? 419 00:22:53,280 --> 00:22:57,719 Speaker 1: And Eves, let me tell you. There are drawings of 420 00:22:57,880 --> 00:23:06,359 Speaker 1: like dark butterflies on the edges of these poems that yes, okay, 421 00:23:06,560 --> 00:23:08,800 Speaker 1: I didn't know. Someone else added that to yours, just 422 00:23:08,840 --> 00:23:14,520 Speaker 1: to give it a little bit um but okay, yeah. 423 00:23:14,640 --> 00:23:16,680 Speaker 1: I love looking at the pictures of the sculptures because 424 00:23:16,680 --> 00:23:19,399 Speaker 1: it's so beautiful and just the detail in the wave. 425 00:23:19,680 --> 00:23:23,080 Speaker 1: She makes everything almost like aquatic in that level of 426 00:23:23,119 --> 00:23:26,280 Speaker 1: like waves and forms of the material on the the 427 00:23:26,280 --> 00:23:31,440 Speaker 1: regiment itself. It looks like a crashing wave of people suffering, 428 00:23:31,520 --> 00:23:35,080 Speaker 1: which is really sad, but it's beautiful and detailed at 429 00:23:35,080 --> 00:23:38,960 Speaker 1: the same time. It meshes so perfectly into whatever form 430 00:23:39,000 --> 00:23:41,240 Speaker 1: it is, and I loved it. I was like, wow, 431 00:23:41,280 --> 00:23:44,320 Speaker 1: I can understand the names makes sense because it makes 432 00:23:44,320 --> 00:23:46,840 Speaker 1: you feel that way. But it's beauty is a whole 433 00:23:46,840 --> 00:23:50,160 Speaker 1: different level of that horror. So it's gorgeous. Her work 434 00:23:50,280 --> 00:23:54,879 Speaker 1: is gorgeous, and it makes me sad that it's not 435 00:23:54,960 --> 00:23:57,120 Speaker 1: more well known. I mean, it is known, but it's 436 00:23:57,160 --> 00:23:59,080 Speaker 1: not well known, and it should be. She should have 437 00:23:59,119 --> 00:24:01,320 Speaker 1: been as big as ro Dan in that sense of 438 00:24:01,359 --> 00:24:03,840 Speaker 1: like this conversation is huge. What she did and what 439 00:24:03,960 --> 00:24:09,840 Speaker 1: she was sculpting was cultural is so gorgeous it is. Yeah, 440 00:24:10,040 --> 00:24:14,640 Speaker 1: definitely clearly was you know, very practiced and like really 441 00:24:14,640 --> 00:24:18,880 Speaker 1: cared about the art form. And yeah, I agree about 442 00:24:18,880 --> 00:24:21,959 Speaker 1: the titles to like I really like the titles and 443 00:24:21,960 --> 00:24:26,000 Speaker 1: it's like they betray exactly well of course their interpretations 444 00:24:26,040 --> 00:24:28,639 Speaker 1: and like many different things you can derive from a 445 00:24:28,680 --> 00:24:30,400 Speaker 1: work of art. But it's like, you know, she wasn't 446 00:24:30,440 --> 00:24:32,880 Speaker 1: cryptic about the titles, is what I'm trying to say. 447 00:24:33,240 --> 00:24:36,240 Speaker 1: She was like, no, this is dark, and you're going 448 00:24:36,280 --> 00:24:37,920 Speaker 1: to be able to tell that from the title even 449 00:24:37,960 --> 00:24:42,400 Speaker 1: before seeing the work. So yeah, you know, like I said, 450 00:24:42,440 --> 00:24:44,960 Speaker 1: she continued to create art, but she was also focused 451 00:24:45,000 --> 00:24:48,560 Speaker 1: on her family life. She didn't have children. She eventually 452 00:24:48,640 --> 00:24:52,320 Speaker 1: had children. In nineteen o nine, she married Dr Solomon 453 00:24:52,359 --> 00:24:55,040 Speaker 1: cy Fuller and he was from Liberia. He was a 454 00:24:55,080 --> 00:24:59,639 Speaker 1: neurologist and worked at a pathology lab as well, and 455 00:24:59,800 --> 00:25:03,200 Speaker 1: they moved into a house and Framingham, Massachusetts, and they 456 00:25:03,240 --> 00:25:08,399 Speaker 1: stayed together for many years. In nineteen ten, her warehouse 457 00:25:08,440 --> 00:25:11,080 Speaker 1: that she had all her tools in and her materials 458 00:25:11,119 --> 00:25:13,680 Speaker 1: in for all of the work that she had done 459 00:25:13,880 --> 00:25:15,720 Speaker 1: and while she was in Europe and in the US 460 00:25:16,400 --> 00:25:19,280 Speaker 1: that caught on fire, and so she lost a lot 461 00:25:19,320 --> 00:25:22,639 Speaker 1: of that stuff, which clearly is like a huge loss 462 00:25:22,680 --> 00:25:24,760 Speaker 1: for her. That's a huge loss for her in terms 463 00:25:24,760 --> 00:25:27,400 Speaker 1: of the physical things that she had and her inspiration. 464 00:25:27,600 --> 00:25:29,640 Speaker 1: You know, just looking at your own legacy, I feel 465 00:25:29,680 --> 00:25:31,640 Speaker 1: like it's so important to you know, she had all 466 00:25:31,640 --> 00:25:33,680 Speaker 1: those things there for her to go back and look 467 00:25:33,680 --> 00:25:36,280 Speaker 1: at for herself but also share with with people in 468 00:25:36,280 --> 00:25:38,880 Speaker 1: the future. But also in terms of her being able 469 00:25:38,920 --> 00:25:40,720 Speaker 1: to make money. So yeah, it was just it was 470 00:25:40,760 --> 00:25:43,800 Speaker 1: a loss for her physically, but I think also in 471 00:25:43,840 --> 00:25:46,600 Speaker 1: a way where it's like it affected her ability to 472 00:25:46,640 --> 00:25:50,080 Speaker 1: continue to work in in her art form. She for 473 00:25:50,119 --> 00:25:52,800 Speaker 1: a few years, she was pretty quiet on the art 474 00:25:52,840 --> 00:25:57,040 Speaker 1: front after that happened, and she already wasn't making a 475 00:25:57,119 --> 00:26:00,800 Speaker 1: lot of money and was struggling on that front. But yeah, 476 00:26:00,840 --> 00:26:05,359 Speaker 1: so that didn't completely eradicate her will to create art 477 00:26:05,400 --> 00:26:08,479 Speaker 1: though you know, she she didn't stop forever. Do Boys 478 00:26:08,600 --> 00:26:10,840 Speaker 1: did end up asking her to recreate one of her 479 00:26:11,320 --> 00:26:13,679 Speaker 1: previous works, which was Man Eating His Heart, which we 480 00:26:13,720 --> 00:26:18,639 Speaker 1: talked about earlier. For the fiftieth anniversary celebration for the 481 00:26:18,680 --> 00:26:22,480 Speaker 1: Emancipation Proclamation in New York. She didn't do that, but 482 00:26:22,600 --> 00:26:25,919 Speaker 1: she did instead create an eight foot tall sculpture of 483 00:26:26,040 --> 00:26:30,359 Speaker 1: three figures called Emancipation. So it was casting flashed at 484 00:26:30,400 --> 00:26:32,920 Speaker 1: the time. Now if you see it, it's cast in bronze. Now. 485 00:26:33,000 --> 00:26:37,119 Speaker 1: That was done and I think and is in Harriet 486 00:26:37,119 --> 00:26:40,639 Speaker 1: Tubman Park now. But it depicts people emerging from the 487 00:26:40,680 --> 00:26:43,440 Speaker 1: tree of knowledge and is a departure from the more 488 00:26:43,520 --> 00:26:49,080 Speaker 1: typical symbolism and imagery that surrounded emancipation at the time, 489 00:26:49,160 --> 00:26:51,400 Speaker 1: like the breaking of the chains and then like kneeling 490 00:26:51,440 --> 00:26:58,399 Speaker 1: to you know, white white abolitionists, and she, you know, 491 00:26:58,480 --> 00:27:02,120 Speaker 1: continue to kind of create in the realm of social 492 00:27:02,160 --> 00:27:05,399 Speaker 1: issues and of things that were happening around the world, 493 00:27:05,480 --> 00:27:07,320 Speaker 1: like war and things that were happening in the United 494 00:27:07,359 --> 00:27:11,080 Speaker 1: States and in Boston. In nineteen fourteen, she ended up 495 00:27:11,080 --> 00:27:15,200 Speaker 1: showing new works in a public exhibition for the first 496 00:27:15,240 --> 00:27:19,840 Speaker 1: time in several years. So throughout the nineteen tens and 497 00:27:19,960 --> 00:27:23,560 Speaker 1: throughout the nineteen twenties, she did create portraits of friends 498 00:27:23,880 --> 00:27:29,960 Speaker 1: and family and self portraits and continued to do commission works, 499 00:27:30,640 --> 00:27:33,919 Speaker 1: and she responded to a lot of those social issues 500 00:27:33,960 --> 00:27:36,720 Speaker 1: through her work. For instance, she did anti lynching pieces, 501 00:27:36,840 --> 00:27:41,160 Speaker 1: so lynching was still like so rampant at the time 502 00:27:41,160 --> 00:27:43,800 Speaker 1: in the United States during that time period, and she 503 00:27:43,840 --> 00:27:47,800 Speaker 1: did one called Mary Turner a Silent Protest against mob violence, 504 00:27:48,200 --> 00:27:52,480 Speaker 1: which was in response to the just awful, awful, awful, 505 00:27:52,520 --> 00:27:56,600 Speaker 1: truly tragic story of Mary Turner, who was violently murdered 506 00:27:57,119 --> 00:28:00,280 Speaker 1: because she spoke up against her husband's recent lynches. I 507 00:28:00,320 --> 00:28:03,600 Speaker 1: mean it's hard like that. That stuff is always hard 508 00:28:03,640 --> 00:28:06,040 Speaker 1: to go through, like those stories, even though there are 509 00:28:06,119 --> 00:28:09,000 Speaker 1: so many of them. But she specifically chose this story 510 00:28:09,000 --> 00:28:12,360 Speaker 1: in which to respond to, and it's a pretty poignant piece, 511 00:28:12,600 --> 00:28:16,320 Speaker 1: and it's just indicative of the things that she was 512 00:28:16,359 --> 00:28:19,640 Speaker 1: thinking about and the whole like you know, black consciousness 513 00:28:19,680 --> 00:28:22,600 Speaker 1: and and the things that like a lot of people 514 00:28:22,640 --> 00:28:24,280 Speaker 1: were thinking about at the time when it came to 515 00:28:24,960 --> 00:28:28,720 Speaker 1: racism and the interactions between um white and black people 516 00:28:28,760 --> 00:28:30,440 Speaker 1: the United States at the time. So yeah, she was 517 00:28:30,480 --> 00:28:33,159 Speaker 1: also hard focused on those subjects through her art. And 518 00:28:34,600 --> 00:28:37,760 Speaker 1: her work is kind of thought of as a precursor 519 00:28:37,840 --> 00:28:40,840 Speaker 1: to the Harlem Renaissance work in which she wasn't specifically 520 00:28:40,880 --> 00:28:45,240 Speaker 1: in the city, but she was still creating work during 521 00:28:45,280 --> 00:28:48,120 Speaker 1: that period, and she knew what was happening in Harlem Renaissance. 522 00:28:48,680 --> 00:28:54,680 Speaker 1: And I should note here though, that not everybody was 523 00:28:54,720 --> 00:28:58,200 Speaker 1: a fan of her work, as to be expected. It's like, 524 00:28:58,280 --> 00:29:01,600 Speaker 1: you know, not everything is everybody's cup of tea. But 525 00:29:01,680 --> 00:29:04,960 Speaker 1: for instance, in his books The New Negro, Elaine Locke 526 00:29:04,960 --> 00:29:07,640 Speaker 1: called her work, in addition to other people's work, has 527 00:29:07,680 --> 00:29:12,040 Speaker 1: wavered between abstract expression, which was imitative and not highly original, 528 00:29:12,560 --> 00:29:17,120 Speaker 1: and racial expression, which was only experimental. So clearly not 529 00:29:17,240 --> 00:29:19,840 Speaker 1: a glowing review of her work, but he did end 530 00:29:19,920 --> 00:29:22,560 Speaker 1: up praising her work Ethiopia or what has been called 531 00:29:22,560 --> 00:29:27,240 Speaker 1: Ethiopia Awakening UM, which I think has been called her 532 00:29:27,280 --> 00:29:31,200 Speaker 1: most known, most well known, or most popular work UM. 533 00:29:31,240 --> 00:29:34,000 Speaker 1: And it depicts a black woman emerging from this kind 534 00:29:34,040 --> 00:29:38,360 Speaker 1: of mummy wrap that resembles a piece of Egyptian funerary sculpture. 535 00:29:38,360 --> 00:29:39,680 Speaker 1: If you look at it, you'll kind of be able 536 00:29:39,720 --> 00:29:42,440 Speaker 1: to see the links between the two. And I think 537 00:29:42,480 --> 00:29:45,520 Speaker 1: that that wrap and the emergence from it and the 538 00:29:45,600 --> 00:29:49,520 Speaker 1: royal symbolism around it can depict so many things. You know, 539 00:29:50,240 --> 00:29:52,479 Speaker 1: there have been there's been scholarly writing on it, and 540 00:29:53,240 --> 00:29:55,840 Speaker 1: you know, critics and writers talking about what they felt 541 00:29:55,840 --> 00:29:57,440 Speaker 1: like it represented. But you can take from it what 542 00:29:57,560 --> 00:29:59,160 Speaker 1: you will. But I mean, I think things that you 543 00:29:59,200 --> 00:30:02,400 Speaker 1: can't get from it, or like rebirth, removing the constraints 544 00:30:02,440 --> 00:30:05,400 Speaker 1: of the past while also acknowledging the past and kind 545 00:30:05,400 --> 00:30:10,160 Speaker 1: of a nod to the evolution of Black Americans. So, yeah, 546 00:30:10,480 --> 00:30:12,120 Speaker 1: it could go on forever if we were to get 547 00:30:12,160 --> 00:30:14,880 Speaker 1: into all of her like works, because there really are 548 00:30:14,920 --> 00:30:17,400 Speaker 1: a plethora of them, um, even though some of them 549 00:30:17,400 --> 00:30:21,280 Speaker 1: were lost. But she created a bunch of sculptures and 550 00:30:21,400 --> 00:30:24,760 Speaker 1: continued to create into the nineteen thirties and into the 551 00:30:24,840 --> 00:30:28,600 Speaker 1: nineteen forties. Much of that rooted in African as well 552 00:30:28,640 --> 00:30:32,000 Speaker 1: as Black American folk learning culture. Yeah, and eventually her 553 00:30:32,080 --> 00:30:36,320 Speaker 1: husband he he felt ill and and she she didn't 554 00:30:36,360 --> 00:30:38,920 Speaker 1: care for him, but he died in nineteen fifty three. 555 00:30:40,160 --> 00:30:43,000 Speaker 1: She also had tuberculosis, and it took her a few 556 00:30:43,040 --> 00:30:47,080 Speaker 1: years to recover from that. But even still she didn't recover. 557 00:30:47,240 --> 00:30:52,360 Speaker 1: She took more commissions, and she kept creating works like Crucifixion, 558 00:30:52,920 --> 00:30:55,160 Speaker 1: which was a response to the bombing of the sixteenth 559 00:30:55,200 --> 00:30:57,720 Speaker 1: Street Baptist Church in birming Him in nineteen sixty three. 560 00:30:58,200 --> 00:30:59,800 Speaker 1: I think a lot of people know that story is 561 00:30:59,800 --> 00:31:01,520 Speaker 1: what well I don't want to make any assumptions, but 562 00:31:01,520 --> 00:31:03,800 Speaker 1: that in which for for Girls died, that was during 563 00:31:04,160 --> 00:31:06,280 Speaker 1: an era of so much racial violence that was happening 564 00:31:06,320 --> 00:31:10,240 Speaker 1: in the United States. So yeah, she died meta meta 565 00:31:10,280 --> 00:31:15,000 Speaker 1: a work. Fuller died in in Framingham and has been 566 00:31:15,000 --> 00:31:19,200 Speaker 1: recognized since, even though she isn't someone who is a 567 00:31:19,240 --> 00:31:22,640 Speaker 1: household name to people who are just not our enthusiasts 568 00:31:22,640 --> 00:31:24,680 Speaker 1: are just kind of more general art enthusiasts at all, 569 00:31:25,360 --> 00:31:27,560 Speaker 1: but she has been recognized in certain ways, and her 570 00:31:27,600 --> 00:31:31,040 Speaker 1: part work is in public spaces and also is available 571 00:31:31,080 --> 00:31:33,600 Speaker 1: to view at museums and online. Still, and like I said, 572 00:31:33,640 --> 00:31:35,600 Speaker 1: we do have pictures of her herself, which I think 573 00:31:35,640 --> 00:31:39,400 Speaker 1: is always a nice edition. Yeah, that's the short of 574 00:31:39,400 --> 00:31:56,840 Speaker 1: her story. I would highly recommend any listeners go look 575 00:31:56,920 --> 00:31:59,680 Speaker 1: up her art because it really is gorgeous. I'm I 576 00:31:59,840 --> 00:32:01,440 Speaker 1: was happy because a lot of times when we do 577 00:32:01,520 --> 00:32:05,640 Speaker 1: these first you're right, there's a lack of images. But 578 00:32:05,720 --> 00:32:08,440 Speaker 1: there were like a lot of museums and school websites 579 00:32:08,480 --> 00:32:11,560 Speaker 1: I found that had them. Uh so it's out there 580 00:32:11,880 --> 00:32:14,640 Speaker 1: and we all recommend you go look it up. Her 581 00:32:14,680 --> 00:32:18,120 Speaker 1: pieces are so gorgeous, but it also is so interesting 582 00:32:18,200 --> 00:32:21,800 Speaker 1: to see her timeline from her beginning with her art 583 00:32:21,840 --> 00:32:24,440 Speaker 1: stuff to that point towards her like the end of 584 00:32:24,440 --> 00:32:27,960 Speaker 1: her life, because how much she experienced and how much 585 00:32:27,960 --> 00:32:31,960 Speaker 1: tragedy there was within obviously the black community in the US, 586 00:32:32,000 --> 00:32:34,760 Speaker 1: but then all around the world, and her like actually 587 00:32:34,760 --> 00:32:36,840 Speaker 1: being able to do it through art, to show that 588 00:32:36,920 --> 00:32:40,400 Speaker 1: timeline through art is phenomenal, because between that nineteen eighteen 589 00:32:40,440 --> 00:32:42,360 Speaker 1: lynching which is so horrific and happened actually in the 590 00:32:42,360 --> 00:32:45,120 Speaker 1: state of Georgia. It is so horrific and not talked 591 00:32:45,120 --> 00:32:48,640 Speaker 1: about enough, and why that was so horrific, and acknowledging 592 00:32:48,680 --> 00:32:50,680 Speaker 1: the fact that it was an atrocity to coming to 593 00:32:50,800 --> 00:32:54,360 Speaker 1: the bombings, which is again towards the biggest part of 594 00:32:54,360 --> 00:32:56,680 Speaker 1: the civil rights movement where things were happening and people 595 00:32:56,680 --> 00:32:59,040 Speaker 1: were getting even more angry. Like, it's just such an 596 00:32:59,040 --> 00:33:02,920 Speaker 1: interesting timeline and I would love to see like all 597 00:33:02,920 --> 00:33:04,400 Speaker 1: of it laid down. I need to go to the museum. 598 00:33:04,480 --> 00:33:06,680 Speaker 1: I need to go right now. What's the pandemic? But 599 00:33:06,760 --> 00:33:11,040 Speaker 1: like it's such a gorgeous tell of what she was 600 00:33:11,080 --> 00:33:12,959 Speaker 1: thinking and what she was doing as well as just 601 00:33:13,040 --> 00:33:15,240 Speaker 1: creating for herself, like looking at her art, like the 602 00:33:15,280 --> 00:33:19,080 Speaker 1: Etheriopia Awakening. That is a beautiful piece and very historical 603 00:33:19,160 --> 00:33:22,320 Speaker 1: for her, but it's celebrating was they called it, the 604 00:33:22,320 --> 00:33:24,800 Speaker 1: Black Pharaohs, that what they called him, And I think 605 00:33:24,840 --> 00:33:27,440 Speaker 1: that's amazing, Like she's celebrating these cultures but then also 606 00:33:28,160 --> 00:33:31,040 Speaker 1: grieving through her art both of these things, and then 607 00:33:31,200 --> 00:33:33,440 Speaker 1: trying to make a statement at the same time, you know, 608 00:33:33,560 --> 00:33:36,120 Speaker 1: holding her art and her passion within herself. It's just 609 00:33:36,960 --> 00:33:38,959 Speaker 1: like you just see the range of emotions. To me, 610 00:33:39,000 --> 00:33:41,800 Speaker 1: I don't know, maybe I'm just being really over the 611 00:33:41,800 --> 00:33:43,960 Speaker 1: top about it and dramatic about it as per usual, 612 00:33:44,080 --> 00:33:47,000 Speaker 1: but just the level of what you see and just 613 00:33:47,160 --> 00:33:49,680 Speaker 1: how it arises and being able to see that in 614 00:33:49,720 --> 00:33:52,040 Speaker 1: her art as glorious as well as I think it's 615 00:33:52,080 --> 00:33:54,240 Speaker 1: interesting for her to be keyed as the like pre 616 00:33:54,480 --> 00:33:57,160 Speaker 1: Harlem Renaissance. I don't know much about the Harlem Renaissance, 617 00:33:57,240 --> 00:33:59,600 Speaker 1: and I really should, like I know that as like 618 00:33:59,680 --> 00:34:01,680 Speaker 1: the ja As era in my head, like and and 619 00:34:01,680 --> 00:34:04,080 Speaker 1: and and it's kind of a different turn to see 620 00:34:04,120 --> 00:34:06,880 Speaker 1: these sculptures and it's also gorgeous to see as a 621 00:34:06,920 --> 00:34:09,200 Speaker 1: part of that as well. Yeah, thank you for bringing 622 00:34:09,280 --> 00:34:11,319 Speaker 1: up that that was in Georgia, because I think that's 623 00:34:11,360 --> 00:34:13,759 Speaker 1: one of those moments in which you know, sometimes we're like, 624 00:34:13,800 --> 00:34:15,480 Speaker 1: why are these stories so important for us to tell? 625 00:34:15,520 --> 00:34:17,080 Speaker 1: And why are these people so important for us to 626 00:34:17,120 --> 00:34:19,960 Speaker 1: lift uplift in these times? And I think when I 627 00:34:20,000 --> 00:34:24,279 Speaker 1: find connections like that, like, it becomes very visceral to me. Um. 628 00:34:24,320 --> 00:34:27,000 Speaker 1: I don't think, Samantha, that you should apologize for being 629 00:34:27,040 --> 00:34:33,000 Speaker 1: emotional about art, because like one like It's it is expressive. 630 00:34:33,160 --> 00:34:35,919 Speaker 1: You know, the work itself is emotional, but also like, 631 00:34:36,280 --> 00:34:38,320 Speaker 1: you can't help the way that you respond to something, 632 00:34:38,360 --> 00:34:40,319 Speaker 1: and if it really speaks to you in that way 633 00:34:40,360 --> 00:34:43,360 Speaker 1: and that's your natural reaction to it, then that's totally understandable. 634 00:34:43,360 --> 00:34:47,720 Speaker 1: I have cried in many a museum and I actually 635 00:34:47,840 --> 00:34:50,360 Speaker 1: love that, Like I missed that, Like I wish that 636 00:34:50,440 --> 00:34:52,840 Speaker 1: this pandemic was over so I can crying more museums 637 00:34:53,320 --> 00:34:55,680 Speaker 1: because I think it's it's really cool to be able 638 00:34:55,719 --> 00:34:58,040 Speaker 1: to see her work online, but there I do think 639 00:34:58,080 --> 00:35:00,440 Speaker 1: that there's something to be gained from all so seeing 640 00:35:00,480 --> 00:35:02,440 Speaker 1: her work in person, and I would love to be 641 00:35:02,480 --> 00:35:05,240 Speaker 1: able to. Don't think I have in the past. Definitely 642 00:35:05,280 --> 00:35:08,760 Speaker 1: not an exhibition completely dedicated to her, but yeah, so 643 00:35:09,000 --> 00:35:11,320 Speaker 1: I think going back to the Georgia pieces where I 644 00:35:11,360 --> 00:35:13,960 Speaker 1: started my train of thoughts starting on this is just 645 00:35:14,040 --> 00:35:17,000 Speaker 1: that that moment of connection is saying like, she didn't 646 00:35:17,120 --> 00:35:20,080 Speaker 1: live in Georgia, but she was thinking about things that 647 00:35:20,120 --> 00:35:22,600 Speaker 1: were happening in Georgia at the time, and she was 648 00:35:22,680 --> 00:35:25,760 Speaker 1: also highly affected by something that was happening on the same, 649 00:35:26,000 --> 00:35:28,279 Speaker 1: very same soil that I'm walking on today and have 650 00:35:28,760 --> 00:35:32,160 Speaker 1: spent nearly the entirety of my life on. So I 651 00:35:32,200 --> 00:35:35,720 Speaker 1: think that that can kind of put things into perspective sometimes, 652 00:35:35,760 --> 00:35:38,040 Speaker 1: like even when a person's story seems like it's such 653 00:35:38,080 --> 00:35:42,400 Speaker 1: an arm's length away from you or that God, like 654 00:35:42,440 --> 00:35:45,520 Speaker 1: another story about someone who was responding to like racism 655 00:35:45,560 --> 00:35:50,040 Speaker 1: of the United States in the twentieth century, But everybody's 656 00:35:50,040 --> 00:35:53,239 Speaker 1: story is different, and I think that looking at it 657 00:35:53,280 --> 00:35:56,240 Speaker 1: from her viewpoint and from a viewpoint of sculpture and 658 00:35:56,320 --> 00:35:59,240 Speaker 1: knowing what she was able to do despite the haters 659 00:36:01,040 --> 00:36:04,959 Speaker 1: is very valuable, right. I agree. There are so many 660 00:36:05,040 --> 00:36:08,360 Speaker 1: things you think, oh, is that closely and how we 661 00:36:08,440 --> 00:36:10,479 Speaker 1: need to repair what has happened, and then we still 662 00:36:10,480 --> 00:36:13,880 Speaker 1: haven't obviously, and that's part of the atrocity of what 663 00:36:15,320 --> 00:36:19,400 Speaker 1: I think this situation. Hate lends to that the fact 664 00:36:19,400 --> 00:36:23,800 Speaker 1: that way back when nineteen eighteen, a massacre happened and 665 00:36:23,840 --> 00:36:26,000 Speaker 1: they just called it a lynching, and that is not 666 00:36:26,080 --> 00:36:28,600 Speaker 1: a big enough word for what it was. And it 667 00:36:28,680 --> 00:36:32,600 Speaker 1: reached her and reached the community as a whole country, 668 00:36:32,680 --> 00:36:35,680 Speaker 1: Like that's just the significance of this happening in nineteen 669 00:36:35,719 --> 00:36:38,880 Speaker 1: eighteen alone, just the growth of what that meant and 670 00:36:38,920 --> 00:36:42,480 Speaker 1: what that was, and what that signified for a whole community, 671 00:36:42,520 --> 00:36:46,520 Speaker 1: for a whole race of people within a country. There's 672 00:36:46,520 --> 00:36:49,520 Speaker 1: nothing we can say, that's how big of an effect 673 00:36:49,560 --> 00:36:52,160 Speaker 1: that should have. And and the fact that she did 674 00:36:52,200 --> 00:36:54,640 Speaker 1: this and the fact that she alone, like it wasn't 675 00:36:54,680 --> 00:36:57,120 Speaker 1: until you brought her to us had I ever seen 676 00:36:57,160 --> 00:37:01,120 Speaker 1: these works. And I'm so upset and so angry that 677 00:37:01,239 --> 00:37:03,520 Speaker 1: it took this long. And and I love that this 678 00:37:03,560 --> 00:37:08,240 Speaker 1: school is it Dan Dan Dan for? Is it art museum? 679 00:37:08,239 --> 00:37:12,040 Speaker 1: At Yeah? That that they actually have realized how valuable 680 00:37:12,040 --> 00:37:14,200 Speaker 1: this is and trying to collect the pieces to either 681 00:37:14,239 --> 00:37:16,640 Speaker 1: being donated or gifted so they can display and talk 682 00:37:16,680 --> 00:37:20,400 Speaker 1: about her works, like I can't believe that it is. 683 00:37:21,440 --> 00:37:24,200 Speaker 1: And a woman who lived for ninety years doing all 684 00:37:24,200 --> 00:37:27,520 Speaker 1: of this amazing work, we haven't talked about her before today, 685 00:37:27,560 --> 00:37:29,560 Speaker 1: like I'm just so upset and not knowing, and then 686 00:37:29,600 --> 00:37:33,080 Speaker 1: her being that iconic for a huge movement, whether it 687 00:37:33,160 --> 00:37:34,719 Speaker 1: was the art world or whether it was for the 688 00:37:34,760 --> 00:37:37,600 Speaker 1: civil rights movement, Like why why are we not talking 689 00:37:37,600 --> 00:37:39,960 Speaker 1: more about what she did and what she saw and 690 00:37:40,000 --> 00:37:43,239 Speaker 1: how it impacted her art? But anyway, I'm off my 691 00:37:43,520 --> 00:37:53,439 Speaker 1: soapbox now we like soapbox, Samantha. I'm go home now, 692 00:37:53,920 --> 00:38:02,600 Speaker 1: be it you are? That's right? I forgot, yeah, I 693 00:38:02,640 --> 00:38:05,080 Speaker 1: mean the power of art. And this episode really did 694 00:38:05,120 --> 00:38:11,600 Speaker 1: make me miss museums, Yeah really did. Soon you'll be 695 00:38:11,600 --> 00:38:15,160 Speaker 1: crashing in a museum again. I hope so soon we 696 00:38:15,200 --> 00:38:20,200 Speaker 1: shall meet again. Is there anything else that we've missed 697 00:38:20,200 --> 00:38:22,600 Speaker 1: before we wrap it up here? I think that is 698 00:38:22,600 --> 00:38:26,640 Speaker 1: it for me? Awesome? Well, where can the good listeners 699 00:38:26,680 --> 00:38:29,279 Speaker 1: find you? As always, you can find me at Eaves 700 00:38:29,320 --> 00:38:32,480 Speaker 1: Defco on Twitter. You can find me at not Apologizing 701 00:38:32,600 --> 00:38:37,040 Speaker 1: on Instagram. Also on the podcast This Day and History Class, 702 00:38:37,080 --> 00:38:39,920 Speaker 1: a daily history show about people like you know, meet 703 00:38:39,960 --> 00:38:41,840 Speaker 1: a vote work Fuller. Even though we have a specifically 704 00:38:41,880 --> 00:38:44,080 Speaker 1: covered are in the show, a lot of other super 705 00:38:44,120 --> 00:38:48,319 Speaker 1: interesting biographies and events that happened that you may want 706 00:38:48,360 --> 00:38:49,879 Speaker 1: to learn about or may want to learn a little 707 00:38:49,880 --> 00:38:51,880 Speaker 1: bit more about and also the show Unpopular, which is 708 00:38:51,880 --> 00:38:55,400 Speaker 1: about people in history who really booked traditions, booked norms 709 00:38:55,560 --> 00:38:58,040 Speaker 1: and were persecuted for it, and how their stories played 710 00:38:58,040 --> 00:39:02,799 Speaker 1: out in the importance of those end That is what 711 00:39:02,920 --> 00:39:08,280 Speaker 1: I got. You can also find Eaves on this very show. Clearly, 712 00:39:08,320 --> 00:39:11,719 Speaker 1: I think we've done like, oh yeah, maybe Tanna see's now. 713 00:39:12,719 --> 00:39:15,640 Speaker 1: I think it's more. Oh yeah, it's more out the 714 00:39:15,680 --> 00:39:18,600 Speaker 1: front door. Have we had a use it's been over 715 00:39:18,640 --> 00:39:26,799 Speaker 1: a year. Yeah, we've gotta have a belated celebration. I 716 00:39:26,800 --> 00:39:32,640 Speaker 1: don't know how. I'm actually taking the number right, So, uh, nineteen, 717 00:39:34,160 --> 00:39:36,600 Speaker 1: So okay, so we've done night at twenty. We'll have 718 00:39:36,640 --> 00:39:40,719 Speaker 1: to do something, Okay, I don't know what the next episode, Yes, yes, yes, 719 00:39:41,360 --> 00:39:46,880 Speaker 1: everybody gets a cupcake. I don't know. Everybody gets a cupcake. 720 00:39:47,880 --> 00:39:50,760 Speaker 1: That's how I celebrate. I was thinking of silly hats. 721 00:39:51,000 --> 00:39:53,480 Speaker 1: I don't know. And we clearly go in different Oh, 722 00:39:53,560 --> 00:39:56,839 Speaker 1: I celebrate with fattening food directions here, But we've got 723 00:39:56,920 --> 00:39:58,440 Speaker 1: time to work it out. I feel like in one 724 00:39:58,440 --> 00:40:00,200 Speaker 1: of the very first episodes we did Ease, we were 725 00:40:00,200 --> 00:40:05,279 Speaker 1: talking about getting champagne and cheesecake or I don't know, 726 00:40:05,440 --> 00:40:08,480 Speaker 1: cheesecake was the big cut talk because I love cheesecake. 727 00:40:09,200 --> 00:40:11,759 Speaker 1: Yeah yeah, I'm here for RD. I like cheesecakes. I'm 728 00:40:11,800 --> 00:40:14,280 Speaker 1: just saying that we had a big discussion about cheesecake 729 00:40:14,280 --> 00:40:17,520 Speaker 1: and how much I love it. Yeah, yeah, Well we 730 00:40:17,560 --> 00:40:22,400 Speaker 1: can figure this out meantime. Listeners, if you would like 731 00:40:22,400 --> 00:40:25,280 Speaker 1: to contact us, you can our emails, Stuff Media, mom Stuff, 732 00:40:25,280 --> 00:40:27,359 Speaker 1: and I hurt meda dot com. You can also find 733 00:40:27,440 --> 00:40:29,840 Speaker 1: us on Twitter at mom Stuff podcast or on Instagram 734 00:40:29,880 --> 00:40:31,800 Speaker 1: at stuff I Never Told You. Thanks it's always to 735 00:40:31,840 --> 00:40:35,759 Speaker 1: a super producer, Christina. Thank you, China, and thanks to 736 00:40:35,800 --> 00:40:38,000 Speaker 1: you for listening Stuff I Never Told The inspection of 737 00:40:38,000 --> 00:40:40,279 Speaker 1: I Heart Radio for more podcasts from my Heart Radio. 738 00:40:40,400 --> 00:40:42,360 Speaker 1: Is that I heard you app Apple Podcast or wherever 739 00:40:42,360 --> 00:40:43,600 Speaker 1: you listening to your favorite shows