Introducing the Studio Museum in Harlem’s first podcast: New Additions. This series features intimate conversations with artists whose work has been recently added to the Studio Museum’s permanent collection. Hosted by Studio Museum Senior Curatorial Assistant Habiba Hopson, New Additions brings in artists at a pivotal moment in their career to discuss their path to artmaking, their process in the studio, their dreams and inspirations, and how they start each day. Each episode reveals how the artist's work and practice shapes their world and in doing so, shapes ours.
Listen in as they dive into a diverse array of subject matter confronting their lives as artists.
NEW ADDITIONS_TUNJI ADENIYI-JONES_EDITED
OPENING QUOTE: I like to keep things pretty fluid and loose just so that it's not distracting. People can sometimes stop looking when they're looking for something that they find so quickly.
And the intrigue can stay when you are not shown everything you need to see right away. So, I like the openness that comes with this kind of fluid ambiguous figure.
Habiba Hopson: Hello and welcome to New Additions, a podcast from the Studio Museum in Harlem. I’m Habiba Hopson, senior curatorial assistant here at the museum, and your host. In this series, we bring you conversations with artists whose works have recently joined our permanent collection.
The Studio Museum in Harlem was founded in 1968 during an era of political and social turmoil. A group of diverse artists, community activists, and philanthropists came together to create a space in Harlem for artists of African descent, many of whom were not given attention within museums, commercial art galleries, and the larger art historical narrative.
Initially, the museum did not collect works of art. Instead, it focused on providing studio space and educational programs for artists and the Harlem community. However, the founders soon realized the need for a collection that celebrated and drew attention to the contributions of artists of African descent. This historic decision has allowed us to build and care for works that tell profound stories of our time.
In this episode of New Additions, I am so pleased to be speaking with Tunji Adeniyi-Jones. Based in Brooklyn and born in London to Nigerian parents, Tunji received his MFA from Yale in 2017 after completing his BFA at Oxford University. In 2019, Tunji was accepted into the inaugural cohort of Kehinde Wiley’s residency program, Black Rock, in Dakar, Senegal. is work is deeply inspired by his Yoruba heritage and carries a distinct artistic style filled with vibrant colors, repeating forms, and characters. As he says, his style is more akin to “cultural addition, combination, and collaboration.” Most recently, Tunji, along with seven other artists, represented Nigeria in the 60th edition of the Venice Biennale.
As you’ll hear in this interview, from a young age, Tunji knew he wanted to be an artist. A trained draftsman and painter, his artistic practice also includes printmaking, which provides a different challenge when completing work. Together, we speak about color, medium, and travel as it relates to freedom and creative inspiration.
More specifically, we explore the new addition to the Studio Museum’s collection, a watercolor, ink, and acrylic painting on paper titled A Flashy Encounter. Full of color and sensuality, this painting presents what appears to be the profile views of two figures. A fiery and tempestuous background dramatizes the event of their meeting. Who could these figures be, and what is the nature of their encounter?
If you’d like to see this now, please press pause and look up this work on studiomuseum.org. Just search for Tunji Adeniyi-Jones.
Habiba Hopson:
Tunji, thank you so much for your time and I first saw your work in person in Dakar for the Black Rock 40 exhibition at Douta Seck, which was awesome. So, maybe we can just take a second and start off with you perhaps telling us a little bit about your background, both culturally and then also professionally and visual arts. Can you perhaps walk us through those aspects of your life and your career?
Tunji Adeniyi-Jones:
Yeah, I would say that I have a very, very thorough art education. So, I did my undergraduate at Oxford and then I took the year off, and then I came here to do my Master's in painting. And my undergraduate was in fine art and art history. I think I was just really into being a student. I really enjoyed learning from my classmates. I really enjoyed the process and the kind of exchange that was happening. I did feel in London at the time when I was graduating that things were kind of limited for me on a culturally sensitive level. I was one of the only Black students in my entire sort of school department. So, I felt like the work I wanted to make that was authentic and true to me wasn't really being enforced by my environment.
My parents moved from Nigeria to England so, I'm Nigerian British, and around that time I started thinking about my cultural heritage as being the main focal point of my work. And I just wasn't finding the faculty in the UK engaging as much as they could be. I did have one amazing professor, of course, so everyone knows Lynette Yiadom-Boakye. She was my one professor of color and she kind of just was telling me that I needed to be exposed to more artists of color. So, that's kind of what brought me over here. And then things kind of steamrolled in terms of me developing a language and a kind of visual lexicon and I was just absorbing everything. I think I came with such an open mind and such a lack of a sense of self or identity that really lent itself well to doing an MFA program, especially one as rigorous as Yale.
And then you just have to be so receptive in a space like that. You really kind of have to have a relationship with ego and self that is malleable, to say the least. So, I just ended up learning a lot, meeting some interesting people, some amazing artists who I'm still friends with today. And the process has just been growing. And I think, yeah, this piece in question is a nice kind of expression of maybe a combination of some of these ideas that I've now been thinking about that are to do with Northeast American art history, specifically of the Harlem Renaissance's era and how all of the art that came from that era came to characterize a kind of civil movement and also civil expression. And then that alongside the kind of Négritude movement, which happened also in the sort of twentieth century a bit later I guess, and how those two sorts of histories were moving alongside each other.
So, this is why when I first went to Senegal it was such a special thing because I was also exposed to that side of that pretty extensive academia, that really extensive Senegalese art, historical academia kind of francophone post-colonial, neo-colonial thought that is so complicated in its own way.
But there are lots of interesting interactions between a Baldwin logic and then also this Leopold Senghor and certain historians from that period of time operating in West Africa and Europe, thinking about the Black body as is used in imagery and music and film and anything. So, in the work I've been doing, it's like, yeah, I'm thinking about all of those things kind of coalescing. And yeah, A Flashy Encounter, it's a very experimental piece, but that's fueling a piece like that. Lots of combinations of imagery and history that are focused on a very dynamic kind of figurative representation of the Black body.
Habiba Hopson:
Beautiful answer. And I love this play and this sort of exploration of the Harlem Renaissance, but also of these sort of Francophone ways of thought, pinning someone like Senghor next to someone like James Baldwin or putting these philosophers, these thinkers, side-by-side one another, but in a visual context. What does it look like to visualize these histories as being quite intertwined, encountering one another, and what happens when that encounter happens? There's a flash or some sort of eruption. So yeah, thanks for that super robust answer. And I think I'd love also to hear more about this time at Black Rock in the fall of 2020 and thinking about how this time fueled your practice.
Tunji Adeniyi-Jones:
We went to the market a lot. I was looking at pigments, I was looking at fabrics and I was thinking more about just using my immediate environment instead of... you know I have all these books (in New York). I have so many, so many books, and then I'll go to the Met, or I'll go to the British Museum to kind of look at objects and artifacts and try and connect with the continent in a very distant, disparate way. But when I was actually there, I found that all I needed to do, I didn't need to go as far as to engage in any specific institution, I kind of just needed to spend time walking around to just be present, to spend time speaking terrible Wolof.
And so just being was enough. And those normal interactions that I'm having with the person getting into the taxi or I'm getting some food or asking for some directions, or I want to try some clothes on or something, end up being the catalyst for everything.
So, I spent two very, very amazing months there, and I just think that that level of immersion allowed me to shed a lot. And then once again, I was suddenly very receptive. And then going back last year was so special because I got to meet everyone else who had a similar experience. We only shared the residency with two other people at a time, and at that point there were maybe twenty-something of us. So, everyone else can speak as elaborately as I can about an experience, they had there to do with something entirely different, but within the same universe entirely. So, it was really good to connect in that way, to see how the space was affecting all of us together and to just have those conversations to share the space.
Habiba Hopson:
I maybe want to just pivot actually now to think more deeply about the work that's in our collection, A Flashy Encounter. First off, I think the title of flashy encounter, just for me, suits the scene so incredibly well. I think you have what looks like these two beings, two spirits, two of these sorts of floating figures. Maybe they're twins, maybe they're lovers, maybe they're just a mirror to one another, but they're coming together in the very sort of center of the frame—their sheer encounter, their gaze, sparks a fire, sparks some sort of flashy eruption. I'm curious, how did you conjure up this sort of scene?
Tunji Adeniyi-Jones:
I had been looking at Charles Cullen’s illustration, and then Richard Bruce Nugent's illustration. So, at that point, that's kind of very specifically early twentieth queer figurative image-making. And then that was entwined with Aaron Douglas.
And so, they would make these illustrations for poems or just for prose and for texts, and there was something about how dramatic they always were. So, it would always be this very dramatic scene of a silhouetted figure carrying another silhouetted figure that's kind of falling backward or something, or it seemed it was always very romantic, or it was always very charged in this way that I thought on a purely image-making basis was really inspiring. So, I had been thinking about ways of showing interactions in this kind of deeply flat, but expressive and dramatic way.
And then also there was, in terms of the color, because this work wasn't initially intended for a show or anything, I spent a lot of time on it. I actually worked on a few of these pieces in Mexico. I'd been traveling between London and America, and there were all of these kinds of travel bans that meant that you couldn't go one place or the other. So I spent a lot of time in Mexico and some of these pieces were made there. And so that just allowed me to slow down the picture space and add more sort of all these abstract reactions that are happening in the lower right-hand corner are typically something I maybe wouldn't give myself time to do in a work.
And then equally, the kind of molten hot, red flame in the top left space is a kind of engagement with the medium that I just was able to do because I would just pour some ink there and then I would just leave it and then I would come back to it maybe in a couple of days. There wasn't quite a specific intention. So, the work was able to go through different phases and there was a different sense of urgency. Frankly, there just wasn't any urgency at all. So, it allowed for lots of different kinds of things to happen at once within this picture frame. And I think previously the work would normally only have one of those aspects. Maybe it's all one move, and this was allowed to have quite a few different ones in it. And then the two figures staring at each other intensively in the middle, that's really straight off of those, those Richard Bruce Nugent's and those kinds of Charles Cullen illustrations that are just so dramatic, just like pure drama and kind of an intensity.
Habiba Hopson:
Awesome. And you did speak a little bit about color, And I think this work especially is adorned with deep blues and violets and fuchsias and reds. I think color, for me at least, it can often engineer a feeling. It can often spark some sort of emotion. I guess I'm curious with these ideas in mind, how do you go about choosing colors for this work? And I guess what is your relationship to color?
Tunji Adeniyi-Jones:
It's a bit like you're saying, it's definitely to elicit a response that's emotive. I've definitely created rules and boundaries and restrictions on what colors I can use at once. And so, in a piece like this, you can see me allowing these really cool blues, really deep, dark blues, and then some really, really warm and kind of rosy violets and magentas and kind of fuchsia in there too and that combination isn't something I would normally have done in the same space.
So, clearly like that. And again, it came from this sense of freedom to make this work without a specific outcome. And I think, yeah, just allowing the material to interact. And certainly at that point, what I was looking at also was a lot of abstract work, like abstract painting. And I certainly think artists like Frank Bowling have slowly started to creep into what I would consider to be a color sensitivity of mine or what I would describe as being a color sensitivity. So, seeing the looseness and the fluidity of color in some of those abstract pieces.
Habiba Hopson:
Wonderful. Yeah, no, thank you. And I guess even thinking perhaps also deeper about your sort of style and technique with this work, this is watercolor, ink, and acrylic. What is maybe even the relationship between paper and printmaking? I know your show at Nicelle Beauchene Gallery showcased both your paintings and your works on paper, I wonder what challenges arise when working with paper and what is that relationship for you between paper and printmaking?
Tunji Adeniyi-Jones:
That's a really good question. So, the thing that the paperwork has offered me, which wasn't happening in the paintings, but it's now something I'm going to work into implementing, is you have to work above it. So, these are made flat, and I was working, I guess, on the horizontal, whereas the paintings are usually made vertically—I'm drawing on the wall. So, that made a big difference on how this is made because I was able to let the material on the medium interact without gravity, I should say. So, the water and the ink can pull in a way that's really organic and also in a way that's impossible to control. So, you have to just let it do its thing. And that's the beauty of printmaking, working flat, having this kind of pressure that's coming in from above down can lead to some really interesting results.
And I hadn't been working that way before. This preceded a series of prints I made that were really loose and kind of a bit more transparent. But ultimately with this piece, yeah, I was experimenting, I thought that I was finding that, not that I painted myself into a corner, but I was feeling a little bit restricted by my own rules and boundaries that I kind of work with.
So, there's a pencil drawing and the main central figure that's holding most of the space, there's a pencil outline for that character, and then the figure that's coming in from outside of the frame, there's a pencil line for that. And then that's basically it. There are no more pencil lines in the entire piece. It's all kind of material just placed down. And that's a pretty uncommon way for me to work. Usually I'll map out the whole thing and then color will be assigned to an area, but with a piece like this, it really was far more organic and far more process-driven and process-based. So, a bit of drawing to keep the bodies in the middle, but outside of that, a very material, process-driven work.
Habiba Hopson:
Interesting. So perhaps, yeah, this one work was more process-driven rather than preparation in some sense? I guess it's interesting because you were working on this piece in a time where there was perhaps more freedom to just do and to be, not necessarily a sort of need to have... Yeah, I guess it was just a sort of an interesting moment where there wasn't so much of a time limit, I guess is-
Tunji Adeniyi-Jones:
Exactly.
Habiba Hopson:
And so, there's somewhat of a freedom in that and somewhat of a surrendering in that. So, I think that's pretty interesting that this was the work that came out of, that that time came out of.
Tunji Adeniyi-Jones:
Yeah, very liberating to not have to kind of — in a scary moment, that is still here and we're in it, but it was especially just a moment where suddenly it felt like the stakes had shifted a bit in what I felt like I needed to present and how I needed to present myself into whom, and suddenly a lot of the pressure was taken off with works. It kind of just gave myself some more room.
Habiba Hopson:
Yeah, and experimentation comes out of that, which is great. Yeah. I'd love to maybe speak a little bit also more about your figures. I think, for me, your figures have this timeless and ethereal quality to them. I think for me, I see that they're both sort of somewhat representative or representational, but also quite abstract, somewhat like part human, part spirit. These figures are often adorned with rounded edges and curves that imbue a sense of fluidity, that further deepen their appearance as other worldly. I think these are my … points, but I guess what drew you to create your figures in this way? And I guess what also about the figure are you interested in?
Tunji Adeniyi-Jones:
I guess when this broader project started at grad school, for me, I was very specifically trying to represent Nigerian Yoruba characters. I think I was very specifically trying to say, these characters are inspired by this specific history that I am connected to, that I'm interested in. Senegal definitely helped with that to broaden my visual language of wanting to represent a different kind of West Africanness, a different kind of blackness. So, then that looseness meant that I could suddenly start representing these bodies that didn't specifically have to be just from a Yoruba background or something, or from a Yoruba history. And that allowed for this abstraction because one of the early things was body paint, body scarification kind of bodywork.
So, lines and forms and shapes on the bodies. And so, when it suddenly didn't have to become so specific to a kind of tradition, it can become a bit more abstract. So, I've decided that I want the bodies to have markings and different colors and shapes and tones, and then that could just become a chromatic exploration rather than a specifically cultural one. And so, that's what’s happening in these works. It's just more of a loosening of that specificity of exactly where on the continent these characters are from, and then rooting that into a more broad sense of where Black bodies situate themselves through time and then space and allowing for there to be certain signifiers.
And that's certainly a signifier that's becoming a consistent. Yeah, so that's part of it too, trying to build the language within the language, something that carries through with every new representation and rendition. I found that the specificity of sex and things like that were very distracting only when people were trying to talk about my work and critiques in school. Since leaving, there are occasional moments where it's fine, and I'll quite clearly say that this is a male dance partner and this is a female dance partner, and they're a couple or they're a something, or there's this, but usually I'll only maybe use it in those terms. Otherwise, I like to keep things pretty fluid and loose just so that it's not distracting. And when I say distracting, I mean only in so far as suddenly I think people stop looking. People can sometimes stop looking when they're looking for something that they find so quickly.
And the intrigue can stay when you are not shown everything you need to see right away. And then maybe you're just not shown at all, but you're staying with the work and you're kind of understanding it in a more open way. So, I like the openness that comes with this kind of fluid ambiguous figure. And things that change that can be quite fun are the almost age and characterization and maturity of these figures. And that's something that can be fun to kind of conceive of. But otherwise, the more ambiguous, the better. Now, these kinds of works came before I'd had certain developments of these ideas, but there was a point when I saw Okwui’s show, Grief and Grievance at the New Museum. And there was that room with Simone Leigh and Kerry James [Marshall].
And I've mentioned this in a couple of interviews 'cause that was a really striking moment of seeing the Black body, the Black figure, the Black silhouette, all in immediate proximity in this way that really expressed the things that I was trying to achieve in my work in relation to history, in relation to size, scale, form, and then a sort of relation to almost Minimalism and its reducing the body in this way, but really heightening it in other ways. So, work like this is the beginnings of me trying to think, well, how do I want these bodies to make us feel? And yeah, how do I want us to engage with them, and what do I want your takeaways to be or something or to feel by yourself or these figures and things like that?
Habiba Hopson:
Totally. I love that you brought this into the room again, Okwui’s show, Grief and Grievance. 'Cause yeah, I have heard you speak about this in other interviews, this presence of, like you said, the Black figure, the Black body, and the Black silhouette. And in many ways, I think your figures also engender that kind of tripleness, that kind of multiplicity of being flat, but also sculptural in some way. I think the way that you have these sort of rounded edges and these figures are definitely in the frame, but they're also sort of floating and boundless. They could quite frankly be off the frame and out of the frame.
Tunji Adeniyi-Jones:
Yeah.
Habiba Hopson:
And that's also just really interesting to think about in ways in which, yes, this is a painting, but also who's to say that this maybe can somehow be developed into a sculpture at some point too?
Tunji Adeniyi-Jones:
You are articulating something really that's really well said, and I really appreciate it because for a few years I used to see those as negatives, everything that you were describing. And I used to see the fact that these figures were floating and not specifically in a place as being a problem because it's not realized yet. It's a process. I'm still kind of understanding it as it goes, but certainly in the past few years, I've come to understand it as a really kind of promising investigation to just keep trying because it's quite undefined in a way that is exciting and interesting. I don't have a clear answer for that, but yeah.
Habiba Hopson:
Yeah. No, it's great. Yeah, I guess I think I'm just super excited to see what works you continue to develop. I think the works that I've seen so far have such a three dimensionality to them. And so just sort of looking forward to what’s to come. Awesome. Yeah, I guess to switch gears a bit,, I'm so curious to hear about your influences, those who inspire you, those who you might include in your own sort of artistic bibliography. Are there any books, artworks, films that come to mind to include in this bibliography? I've heard you sort of speak around Chinua Achebe, but yeah, who are some other folks or other books or other sort of texts or films even that you would include
Tunji Adeniyi-Jones:
There is so many, but I will give some key pivotal ones. I think Another Country by Baldwin and then Open City by Teju Cole. And the kind of relationship between those two positions of moving through New York City. And I read those when I had first moved here, so it was kind of impactful to have those references, those kind of literative references. And then Americanah I read when I moved here as well, that was pivotal. And then a lot of the associated literature that came with that. I think there are a few short stories, pieces that she's written as well that were good.
Oh yeah, Akwaeki Emezi’s Freshwater was a big one. I think this personification of the spiritual was really done well in their work. I think it's still done very well in the work, but there's so many books that I've read, but those are the ones that I think didn't change me, but they left a strong impression. And then I guess film has been a space that I've been recognizing is quite lacking in my pool of influence right now. West African cinema is something that I look into and have been looking into, but I'm realizing I'm not as well-versed in it as I ought to be.
I think it would also be very impactful on my work, but strictly, it's kind of been very literature-based, I would say. And then work that I'm seeing in person. I started delving deep into sort of Ben Enwonwu’s work and traditional Nigerian modernist artists, too. I've been really kind of looking back at Nigerian artists from the '60s, '70s, '80s, seeing what they were doing, understanding that a lot of their work was also fueled by this duality of either moving to England or moving to Europe somewhere and coming back and applying mixed techniques gathered in different places. So, I've been trying to align myself with that kind of history as well, and looking at their work has been very impactful. Yeah, the classic literature, definitely. Amos Tutola, Wole Soyinka, Chinua Achebe, Cyprian Ekwensi, Mary Sibande, Yeah.
Habiba Hopson:
This is a full bibliography. Yeah.
Tunji Adeniyi-Jones:
Yeah, Because there is so many, and one always chains onto the other where I see them all as being so connected in this way when I think about them and how they have inspired me at certain points. It's like they all sit alongside each other in this really nice way. Yeah.
Habiba Hopson:
That's awesome. That's so cool. Okay, great. I'm looking forward to digging into some of these texts that you listed. I wanted to ask these final questions that we'll ask each artist. The first being, walk me through your morning. How do you start your day?
Tunji Adeniyi-Jones:
So, I'll wake up, I'll do some light exercise and stretching in my room to move my body around. I realized a year and a half ago that I was really stiff and had some hip misalignments and my mobility in the lower half of my body was off. And that was starting to really affect my work. My previous studio was on a slant, so the floor was uneven, and I was just noticing my knees and my soles of my feet, my ankles, everything was getting really off because of how active the painting was becoming. So, some sort of physical warmup at the beginning of every day is important to get my body ready for the day. If I'm feeling like I have enough time, I'll walk to the studio. It's about a 25-minute walk away. So, I'll do that. I'll have my coffee, I'll have some kind of granola or some oats or something, and then I'll just go straight into it, whenever I get in, between 9:30, 10:00, 10:30AM time.
Habiba Hopson:
Wonderful. Okay, cool. And I guess, yeah, the second question: What's the sort of crazy big idea you'd do if you knew you couldn't fail—if you knew that it'd be a success—whatever success means to you, what would be that big idea or that activity?
Tunji Adeniyi-Jones:
That's a great question. And I'm a bit stumped because I have something and I'm like, am I going to remember it? It's a really great question, but I've kind of buried certain fun ambitions like that in my head for more realistic practicality reasons, but I'm really happy you've asked me that.
If I knew that it was definitely going to be successful? Oh, yeah. Okay. Yeah. So, there was a point, and I guess this is what's interesting about this is, it's not that I don't think that doing this would be successful, it's that I've had to, through the understanding of the longevity of my artistic career, I've had to put it on hold. There was a moment right after my Dakar trip where I started making this series of paintings that were nothing like any of this at all. They were more representational. It was more kind of bodies in space. There was some storylines behind it, very narrative driven work inspired by a lot of the kind of fiction and literature. And it was people in traditional kind of Islamic clothes and things like this, West African Islamic relationships and things like that. Stuff that I was finding to be very fruitful.
And then I stopped doing it entirely and shelved it. And so to that question, I would love to be able to make just an endless series of those paintings that were just these kinds of stories that would end up looking a bit like a Greek fresco or something in this way. That the way that the composition was very kind of flat storyboard across a long kind of panel. And it would just be kind of like these figurative storyline paintings that I recognized at the time there was too much of it in a way that I felt that everyone was doing it, and I liked the way that everyone was doing it, so I was like, it's okay. There'll be a moment when I'm able to do it, but it's just not right now.
Habiba Hopson:
Yeah. No, totally understandable. Yeah, and so just this last question, which isn't really a question, is more so a prompt. I'm wondering if you can share one question that you'd like for me to ask the next artist.
Tunji Adeniyi-Jones:
That's a good prompt. Okay. These are good questions. This is a good interview. It's been very interesting. I think the next person...
Well, yeah, what was the last piece you saw in person that really kind of left an impression? But yeah, so for example, for me, I saw the Venice Biennale, but it was nice to see the Belkis Ayón work in that room with Simone Leigh, so that's left a strong impression. So, that's a question I would have is what was the last thing you saw that really left you feeling like, “damn, that's amazing?” And with the view of it being maybe at a thing. Yeah. Or maybe small scale, also maybe, yeah, in someone's studio.
Habiba Hopson:
Yeah, to take that question and answer it as they please, but that Belkis work, my goodness. I think I would maybe answer the same. I hadn't expected to see that work—
Tunji Adeniyi-Jones:
Me neither.
Habiba Hopson:
It's been so lovely to speak with you. I really, really appreciate your generosity and just your willingness to answer all these questions and to meet with me.
Tunji Adeniyi-Jones: Sounds great.
Thank you so much for joining us in this conversation between me, Habiba Hopson, and artist Tunji Adeniyi-Jones, whose work, A Flashy Encounter, a watercolor, ink, and acrylic painting on paper, has just been added to our collection.
The Studio Museum in Harlem is the nexus for artists of African descent locally, nationally, and internationally, and for work that has been inspired and influenced by Black culture. It is a site for the dynamic exchange of ideas about art and society. We invite you to get to know our collection and follow along on our journey to building our new museum in Harlem.
For more information on Adeniyi-Jones, you can visit studiomuseum.org or Tunji Adeniyi dash Jones dot com. You can access these links, and more in the show notes.
My name is Habiba Hopson, senior curatorial assistant here at the museum, and your host.
New Additions is produced by SOUND MADE PUBLIC with Tania Ketenjian, Philip Wood, Alessandro Santoro, and Jeremiah Moore.
This podcast would not have been possible without members of the Studio Museum’s curatorial and communication departments, especially Curator Connie H. Choi, Associate DIrector of Digital Marketing and Communications Shanna Kudowitz, Managing Editor Meg Whiteford, and Director of Marketing and Communications Isata Yansaneh. Special thanks to Senior Director of Learning and Engagement Shanta Lawson and Director of Education Chloe Hayward. Much gratitude to Studio Museum donors and patrons, particularly those who purchased or gifted works for the Studio Museum’s collection that are featured in this series.
Our theme music was created by Mandingo Ambassadors.
The cover image was created by Studio Museum’s Senior Graphic Designer Megan Tatem.
To learn more about this series, please visit studiomuseum.org/magazine.
And please share this conversation! Write a review. Follow us on Instagram.
Thank you so much for listening, take care.