(Artwork by Jonathan Lyndon Chase – Pulpit)
Kohn Gallery presents Engender, a group exhibition featuring contemporary artists who are revolutionizing the way we visualize conventional gender as exclusively male or female. Established in 1985, the Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary artists, creating meaningful contexts to establish links to a greater art historical continuum.
Through painting, a medium that has traditionally embraced this binary, these artists are pushing the genre in new, unprecedented directions, challenging the ways in which paintings can be used to deconstruct and rewrite conventional notions of personal identity. The exhibition highlights the inter-blending of traditional and figurative abstraction as the foundation for more fluid and inclusive expressions of identity, engendering a new visual pronoun. Engender is beyond the binary.
“If the show can expose people to questions about gender, questions that they may have never known to ask, that would be a success in my book. I want people to be exposed to this topic first and foremost. I think awareness is what will lead to further conversation. When you have something so tethered to a long history of cultural categorizations such as gender, assumptions occurs. Assumptions that negate proper exposure, discussion, and education on a very complex and multilayered component of all our lives. The artists in the exhibition are reclaiming that narrative, visually crafting languages that speak to their own unique experience, and yet can very much be understood by all.”
~ Joshua Friedman, Curator and Associate Director of Kohn Gallery Continue reading Engender Exhibit Goes Beyond the Binary→
Loss, trauma, memory, and the impenetrable ties of family are the elements that weave together Sharon Hart-Green’s panoramic debut novel Come Back for Me (New Jewish Press). Set in the aftermath of World War II, it is a gripping story about the redemptive power of love and self-understanding.
Come Back for Me tells the story of two young Jewish characters; one is a Hungarian Holocaust survivor Artur Mandelkorn who is on a desperate quest to find his beloved sister, Manya, after they become separated during the war. Artur’s journey takes him to Israel where he falls in love with Fanny, a young woman who still bears the scars of her own tragic past in Germany.
Kim is a key member of the Wayans clan that created TV’s In Living Color. The ten Wayans siblings grew up poor in New York City’s Chelsea neighborhood. Elvira, Kim’s mother, was a homemaker and social worker who took the kids everywhere, no nannies, and no babysitter. Their father was a supermarket manager and the Jehovah’s Witness in the family. With no background in the entertainment business and little money, the Wayans’ success is an unlikely story.
Am I good at my craft? Well, only my readers can answer that question. But I’m here today to share a bit about my history as a writer utilizing the Q & A format. Here goes:
Q: Terry, when did you decide to become a writer?
A: Although I love sports, it didn’t take me long to realize that a NBA career was not in my future. And science and math were not my strong points. Singing? Dancing? Since I’m the worst singer and dancer in the history of the world I ruled out those two options. So I figured that since putting pen to paper was something I enjoyed, plus I had great English teachers, I decided to major in English in college.
It wasn’t supposed to be like this, not now at least. America is firmly within the twenty first century, yet we are struggling to deal with the problem that W.E.B. Dubois so aptly identified in 1903 as the problem of the twentieth century. That problem was the color line, which refers to institutional racism, discrimination and segregation. Looking ahead over a century later, it seems little has changed. While that assertion is unfair to a point—after all, we had a black president and legal segregation is prohibited –certainly the dynamics of racism are still as vibrant, conspicuous and ubiquitous in American life as ever—there is a problem throughout U.S. history that never subsides, and, as if to operate in cyclical fashion, sometimes gains momentum.