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https://www.colectivomorivivi.com/

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https://artmuseum.mtholyoke.edu/object/homage-warhol

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Springfield's Own! Costume Designer Ruth E. Carter

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Springfield's Own! Costume Designer Ruth E. Carter

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'Ruth E. Carter: Afrofuturism in Costume Design'

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Academy Award-winning costume designer Ruth E. Carter is an expert storyteller who harnesses the power of visual communication to share narratives of culture, race, and politics. Creating costumes for generation-defining films like Black Panther, Selma, and Do the Right Thing, she brings vibrancy, nuance, color, and texture to each of her culture-shifting characters.

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https://esterhernandez.com/

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"The quality of place, the reaction to immediate contact with earth and growing things that have a fugal relationship with mountains and sky, is essential to the integrity of our existence on this planet," the famous American photographer Ansel Adams wrote in his autobiography. From the romantic painters of the late 18th century to Adams to contemporary figures like Pedro Reyes and Agnes Denes, artists have long had a fascination -- and deep respect -- for the planet on which we exist.

With the words "global warming" and "climate change" never far from the headlines, artists like Adams and co. are more relevant than ever. Tying together the scientific and creative worlds in acts of beauty and activism, sculptors, painters, photographers and more have the power to make environmentalism a priority and bring green initiatives to the forefront of cultural conversations. Behold, 18 green artists who are making climate change and conservation a priority.

For " Your waste of time," Olafur Eliasson displayed pieces of ice that broke off from Iceland's largest glacier, Vatnajökull. Exhibited in a refrigerated gallery space powered by solar panels, the ice "sculptures" represented 800 years of Earthly existence, putting human's physical experience in perspective. "The obvious lesson of Mr. Eliasson's installation, 'Your waste of time,' is that global warming is wreaking havoc on nature," Ken Johnson wrote in The New York Times last year.

At first glance, David Maisel's gorgeous photographs seem to celebrate the natural beauty of another planet, but his deep blue swirls and red craters actually depict the aerial appearance of environmentally impacted sites in the United States transformed by water reclamation, logging, military tests and mining. "With the mining sites, I found a subject matter that carried forth my fascination with the undoing of the landscape, in terms of both its formal beauty and its environmental politics," Maisel writes on his website.

The art collective Luzinterruptus has a history of tackling political and social issues in Europe. The "Labyrinth of Plastic Waste" is but one example.

"We were looking to demonstrate, in a poetic manner, the amount of plastic waste that is consumed daily," Luzinterruptus explained in a statement. "In addition to focusing attention on the big business of bottling water, which leads to very serious problems in developing countries, whose citizens have watched as their aquifers have been privatized with impunity for the exclusive enrichment of large business owners and ruling classes without scruples."

Architects Amanda Schachter and Alexander Levi's massive " Harvest Dome 2.0," assembled from 450 umbrellas and 128 bottles, once floated around the inlet of Inwood Hill Park in New York City. Deemed a piece of "performance architecture," the 24 by 18-foot structure further proves the world's garbage can we reused in many unexpected ways.

Using toxic runoff found in the Ohio River region, artist and professor John Sabraw produces his own DIY pigments -- bold yellows and reds that are sourced from the oxidized sludge of abandoned coal mines. Rather than using imported iron oxide from China to make his paint colors, he taps into the water's heavy metals left over from abandoned coal mines, bringing to light the region's pollution problem in the process.

" The artist, like the scientist, has a crucial role to perform in our society," Sabraw explained to HuffPost. "See things differently, act on this vision, report the failures and successes."

Naziha Mestaoui's "One Beat One Tree" projects virtual forests onto city spaces, blurring the boundaries between the natural world and advancing technology. The digital trees actually grow in rhythm with a person's heartbeat, as viewers can connect to the series via a smart phone sensor. And with each virtual plant, a physical one is grown in regions throughout the world, from Europe and Latin America to Africa and Asia. Since its inception two years ago, the project has already sparked the growth of 13,000 trees.

Photographer Rachel Sussman has been traveling the globe for the past 10 years, searching for the world's oldest living things with camera in tow. From the Mojave Desert to the Australian Outback to Greenland's icy expanses, she captures portraits of organisms capable of lasting for 80,000 years, shining a light on our planet's resilience in the face of human intervention. "Extreme longevity can lull us into a false sense of permanence," Sussman wrote for Brain Pickings. " But being old is not the same as being immortal."

Combining elements of painting, photography, performance, cinema and land art, Barry Underwood renders environmental issues like light pollution and deforestation in electric splendor."My attempt is to portray environmental issues that are not delivered in a heavy-handed way," Underwood explained to HuffPost. "Rather in a way that draws attention in a pleasing way, then if contemplated could unfold a message of dissidence or a natural discord."

French sculptor Paulo Grangeon used an unlikely medium to illuminate the reality of animal endangerment across the world. For his traveling exhibit, "Pandas on Tour," he created 1,600 papier-mâché bears meant to represent the actual number of pandas left on the planet (recent estimates actually place the number slightly below that, at 1,596). Launched in 2008 in collaboration with the World Wildlife Fund, Grangeon's project has traveled to landmarks in more than 20 countries, including the Eiffel Tower.

Ask a Dutch artist to solve the problem of blanket pollution in Beijing and what do you get? If you've tracked down Daan Roosegaarde, you'll get "Smog," a system of underground copper coils meant to suck up airborne particles using an electrostatic field. It's like a vacuum cleaner that operates on a similar principle to statically charged balloons.

A Kyrgyz street artist named Aida Sulova confronted the rampant garbage problem in Bishkek by using trash bins as a canvas. According to Wooster Collective, the street artist pastes photographic images of open mouths on garbage cans throughout the city to "remind people that what they throw into the world, eventually ends up inside us."

Photographer Chris Jordan puts consumption into perspective with his series "Intolerable Beauty: Portraits of American Mass Consumption." His works show the debris we as a society leave behind, from massive dumps of cell phones, to crushed cars and circuit boards, all squeezed together in hypnotic quantities. "I am appalled by these scenes, and yet also drawn into them with awe and fascination," Jordan explained in an email to The Huffington Post. "The immense scale of our consumption can appear desolate, macabre, oddly comical and ironic, and even darkly beautiful; for me its consistent feature is a staggering complexity."

For the 2012 installation " Sandstars," Gabriel Orozco arranged over 1,200 objects from the Isla Arena, Mexico trash repository on the Guggenheim Museum's floor, accompanied by a dozen large, gridded photographs depicting the individual objects in a studio setting. The found treasures bring hints of the ignored wastelands into a gallery setting, forcing viewers to confront the effects of industrial and commercial refuse.

The 2013 phenomenon that was the " Rain Room" invited MoMA viewers to experience a deluge of falling water without getting wet. According to the museum's description for the exhibition EXPO 1: New York, "the work invites visitors to explore the roles that science, technology, and human ingenuity can play in stabilizing our environment."

Agnes Denes is a giant among land artists. Her most well-known project is probably the 1982 piece "Wheatfield -- A Confrontation," in which she planted a field of golden wheat on two acres of a landfill near Wall Street and the World Trade Center in Manhattan. She weeded, irrigated and cultivated the mini oasis, bringing the essence of rural America into the throngs of America's urban epicenter. The confrontation was between nature and artifice.

Christo and the late Jeanne-Claude are well known for their massive land artworks that serve to remind viewers of the natural wonders scattered around the planet. For " Surrounded Islands," the two artists encircled 11 islands in Biscayne Bay, Miami with 6.5 million square feet of floating pink woven polypropylene fabric. In the process, they cleaned up 40 tons of garbage from the floating land masses.

French artist Mathilde Roussel created a series of living grass installations that take the shape of human beings. Made of recycled material and fabric filled with soil and wheat grass seeds, the pieces are meant to symbolize the centrality of food. " Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world -- of abundance, of famine -- and allows us to be physically, intellectually and spiritually connected to a global reality," the artist explains.

For "The People's United Nations (pUN)" exhibition at Queens Museum in New York, Mexican artist Pedro Reyes made climate change and geo-engineering points of focus for his diplomatic performance piece. He even served grasshopper burgers during a lunch break to participants in the 193-person assembly to highlight the carbon footprint of meat. " Protein from insects is the way of the future," the artist proclaimed to HuffPost.

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Before You Go

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18 Green Artists Who Are Making Climate Change A Priority

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18 Green Artists Who Are Making Climate Change A Priority

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Roy Boney Jr. : Tales of the Mighty Code Talkers 

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Roy Boney Jr. : Tales of the Mighty Code Talkers 

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ᎠᏴ ᎧᏂᎦ ᎪᎳᎭ ᏗᏟᎶᏍᏔᏅᎲᏍᎩ Roy Boney, Jr. Artist

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Tales of the Mighty Code Talkers - ᎠᏴ ᎧᏂᎦ ᎪᎳᎭ ᏗᏟᎶᏍᏔᏅᎲᏍᎩ Roy Boney, Jr. Artist

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[small worlds] performance | Vanessa German | TEDxPittsburgh

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Vantage Point - "Take a Picture with a Real Indian" (James Luna performance)

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In the video for Beyoncé and Jay-Z's "Apeshit," the first visual from the pair's surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that - like most Western art museums - historically made little room for non-white artists.

Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings - white artists, white subjects - the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the "Yonce" video from Beyoncé's eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese's painting "The Wedding at Cana," where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist's "Portrait d'une Négresse," a depiction of a black woman staring guilelessly back at the viewer.

But the Where's Waldo? moments highlighting black figures are fleeting - the possibilities for this in the Louvre, or any major Western art museum, are limited from the start. So Beyoncé and Jay-Z set about interjecting blackness into a space that has never placed much value on it, claiming one of the centerpieces of European culture with gleeful defiance. They frequently film themselves moving in opposition to the frozen stillness of paintings by Jacques-Louis David, a French neoclassical artist whose work - like "The Oath of the Horatii" and "Madame Récamier" - invokes the Greco-Roman tradition.

Much of the potency of the "Apeshit" video comes from the contrasts drawn between the "white" art on the walls and the black women on the gallery floors. In front of David's "The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine," a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David's massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre's stature depends on people believing that "The Coronation of Empress Joséphine" is the art, but the eye tells a different story - hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper.

Throughout the "Apeshit" video, Beyoncé and Jay-Z repeatedly upstage some of Western classical art's most famous images in one of its central sacred spaces. Beyoncé holds a series of chopping micro-poses with her hands before Saiz cuts quickly to an image of a distressed character, hands held up to shield her head, taken from another David painting, "The Rape of the Sabine Women." The placement of the hands connects the two frames, but Beyoncé's is virile, aggressive and in charge, while David's figure seems merely fearful.

Later, Beyoncé and Jay-Z stand in front of the Venus de Milo, one of the Louvre's most well-known statues, the kind of white marble creation that is synonymous with European high-art. The statue is inert and famously arm-less; Beyoncé is fluid, fierce and in perpetual motion.

It's not only Beyoncé who eclipses the art. Just a few scenes before the singer's victory over Venus de Milo, a line of her dancers sway back and forth in the foreground while another white marble statue, "The Winged Victory of Samothrace," looms inertly behind them. Everything Is Love 's cover image, which also comes from the "Apeshit" video, casually one-ups the "Mona Lisa": A dancer carefully tends to a black man's hair while Leonardo da Vinci's beauty languishes in the distance.

Jay-Z's role in the new clip is more limited - the rapper stands around in pastel suit jackets, gallantly letting his wife do all the work, wrecking frame after frame. He relies on his lyrics to make the points that Beyoncé and her dancers drive home visually. The beat, co-produced by Pharrell Williams, splits the difference between the zaniness of Rae Sremmurd's "Black Beatles" and the crushing momentum of Future's "Move That Dope;" Jay-Z raps quickly and cleanly, often while standing in front of Théodore Géricault's painting "The Raft of the Medusa," throwing darts at traditional bastions of white-ness outside the museum world, including the NFL and the Grammys. When he raps, "I said no to the Super Bowl / You need me, I don't need you," the camera flashes to a line of young black men taking a knee, alluding to Colin Kaepernick and other players' decision to kneel during the national anthem to protest police brutality.

As the "Apeshit" video comes to a close, Beyoncé overpowers the art once more, happily thrashing around in a poofy white gown in front of "The Winged Victory of Samothrace." The final shot in the clip is one long pan towards Beyoncé and Jay-Z, who stand nonchalantly in front of the "Mona Lisa" wearing plush suits of purple and aquamarine, respectively. The camera settles on the famous painting itself; by now, any viewer knows that's the least interesting thing in the frame.

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How Beyonce and Jay-Z Defy Western Art Tradition in 'Apeshit' Video

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In the video for Beyoncé and Jay-Z's "Apeshit," the first visual from the pair's surprise joint album Everything Is Love , the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that - like most Western art museums - historically made little room for non-white artists.

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John Akomfrah: Addressing Climate Change 

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John Akomfrah: Addressing Climate Change 

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John Akomfrah: Purple | Institute of Contemporary Art/Boston

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Guerrilla Girls Images & Projects 1985-2018

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How Police Brutality Inspired These Works of Art

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Cauleen Smith: We Already Have What We Need

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Cauleen Smith: We Already Have What We Need

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Exhibition Trailer | Cauleen Smith: We Already Have What We Need

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In 2015, Susanne Slavick, an artist, curator, and professor of art at Carnegie Mellon University, organized , a group show of over 22 artists. The purpose of the exhibition was to probe the culture of widespread access to guns and its consequences. Some of the works were explicit about their subject matter: Everest Pipkin's "162 Free Guns," for instance, was a book aggregating every free "gun" that could be downloaded from the creative commons online in May 2017, including a model gun that could be 3D-printed and a laser gun from a video game. Nina Berman photographed the " Come and Take It" rally in San Antonio in 2013, where hundreds of gun owners protested a local ordinance that banned guns in public parks by proudly and openly displaying their weapons in patriotic gear. Mel Chin arranged eight AK-47s into the shape of a Maltese cross in a 2002 piece entitled " Cross for the Unforgiven."

Other works in the show were more abstract. Jennifer Nagle Myers's " A City Without Guns" (2015-ongoing) was an arrangement of found sticks, each of which appeared vaguely reminiscent of a gun. Slavick's own "Romantic Resistance"was an installation of 15 circular panels, each adorned with a bead from a pearl necklace and pierced by a bullet hole. The show ultimately toured 12 cities and collaborated with organizations such as CeaseFirePA, Moms Demand Action, and Everytown for Gun Safety, with local leaders presenting their research and advocacy in workshops and events.

Now, seven years later and as gun violence soars in America, Slavick continues to update a Facebook page she created at the culmination of that touring exhibition, where she posts artwork, poetry, plays, and op-eds that are relevant to the themes she explored in Unloaded.

Susanne Slavick, "(Re)Setting Sights" (2002), screen prints on Stonehenge, 22 x 30 inches each (image courtesy the artist)

"I don't know what else it takes to move us. Yes, these recent shootings have moved bipartisan legislation," Slavick told Hyperallergic, referencing the passage of the Bipartisan Safer Communities Act on June 23. Among other things, that law will require more rigorous background checks for younger gun buyers and allocate funding for school safety. But it stops short of enacting gun control measures that many reform advocates have been demanding for decades.

"The measures that have been approved, while welcome, are just so inadequate, and so relatively indirect to the scale and nature of the problem, which is just generally that access to guns is too easy," Slavick said.

Ryan Standfest, The Sleep of America Produces Monsters no. 1: "A New Modest Proposal" (2022), letterpress, 8 x 5 inches, edition of 50 (image courtesy the artist)

One recent image Slavick posted in late June comes from Ryan Standfest's series The Sleep of America Produces Monsters. The title is a play on both Francisco Goya's 1799 print " The Sleep of Reason Produces Monsters" and the observation that "they call it the American Dream because you have to be asleep to believe it," attributed to George Carlin. Printed by letterpress, the off-white pamphlet modernizes Jonathan Swift's A Modest Proposal, an unrelenting satire of austere and dehumanizing attitudes toward the Irish poor published in 1728. In Standfest's version, it is a "modest proposal" not for "preventing the children of poor people from being a burden to their parents or country and for making them beneficial to the public," as Swift had it, but rather "for preventing the children of Americans from being a burden to the gun lobby or the republic and for making them defend themselves with their own guns."

A graphic shows a trigger-ready hand cradling a palm-sized pistol. Standfest's print suggests that Republicans and the gun lobby hold a malicious disregard for the lives of the American children comparable to English colonizers' indifference to rampant poverty and hunger in Ireland in the early 18th century - an indictment of a status quo in which the people come second to corporate interests and party politics.

A post on the Unloaded Facebook archive (screenshot Valentina Di Liscia/Hyperallergic via Facebook)

A grainier, almost spectral image on the page is an installation shot of Floyd D. Tunson's "Hearts and Minds," a monumental, multi-panel work made over multiple years in response to the police killing of the artist's youngest brother. The multi-media collage includes two Jasper Johns-esque targets at the center, buttressed by tondos of Black men and $50 bills behind bars. After developing the central panel and showing it at a gallery in Denver, Tunson decided that he wasn't quite done with the piece. "I realized I felt like I had more to say," he recounted. Eventually, "Hearts and Minds" would grow to three times its original size, with more paintings and cutouts of skulls; bone, fabric, and cardboard bricolage; photographs; and renderings of the faces of Black men.

"Sadly, this is still relevant," Tunson said. "I could still add more parts to it. What's going on in society in relationship to this has not come to an end."

Mimi Smith, "Bang Bang" (1990) (image courtesy the artist)

Mimi Smith's "Bang Bang," finished in 1990, is a visual representation of the statistic that someone in the United States dies at gunpoint every 16 minutes (the frequency has only risen since then). It's a clock face decorated with Art Deco-style gun barrels and Pop Art-yellow strips that mark the passage of every quarter-hour with the factual, serif pronouncement: "Bang, Bang, You're Dead." The work seems to have a Tarantino-like attitude to gun violence: It's rampant, it's a matter of fact, and it can even be made to look cool. But the ironic distance of "Bang, Bang" is an expression of Smith's revulsion to this contemporary social reality. "Guns are an awful horrible thing in this country. It makes me sick every time I hear of another incident," she wrote in an email.

One post shows artist Paula Crown's billboard for For Freedoms. (screenshot Valentina Di Liscia/Hyperallergic via Facebook)

Arthur Simms's "Portrait of an Angry Man with a Gun" (1992), fashioned from wood planks, rope, glue, and screws, is one of the most abstract works archived on Slavick's Facebook page. It captures the tightly-wound tension of someone whose unresolved passions are surely, as the title suggests, bound to find expression in the release of the trigger of the gun. By anonymizing the man behind the gun, Simms refuses to lavish attention on the biography of the perpetrator and his psychology, instead representing the highly charged, indeterminate energy that takes definitive shape when paired with a gun.

Arthur Simms, "Portrait Of An Angry Man With A Gun" (1992), rope, wood, glue, screws (photograph by Charles Benton, courtesy the artist)

Slavick also posts news articles, op-eds, and poems that touch on the alternatively banal and spectacular reality of gun violence in American life. An article from Rolling Stone marked 1.15 million deaths since the assassination of John Lennon in December 2019. "Enough of the gun, / the drama, and the acquaintance's suicide, the long-lost / letter on the dresser, enough of the longing and / the ego and the obliteration of ego," read a few lines from Ada Limón's "The End of Poetry" - originally published in the and reposted by Slavick.

On the day the Supreme Court officially delivered its Dobbs ruling overturning Roe v. Wade, Slavick posted a photo of a protester carrying a plain cardboard sign reading, "If only my uterus was an AR-15."

A post from the day of the Supreme Court's ruling overturning Roe v. Wade (screenshot Valentina Di Liscia/Hyperallergic via Facebook)

Another recent repost Slavick made was of Kim Phuc Phan Thi's opinion piece for the New York Times, " It's Been 50 Years. I Am Not 'Napalm Girl' Anymore." Thi, who was iconically captured fleeing a napalm attack in South Vietnam in 1972 by Associated Press photographer Nick Ut at the age of nine, wrote about the dual trauma and empowerment that photograph brought her. She also proposed, in the aftermath of the mass shooting at Uvalde, that it was perhaps time to take, and show the American public, more explicit photographs of the consequences of the ready availability of guns. Slavick says she has been thinking about this question a lot lately, as "horrible" as it is.

"I want the show to last beyond its physical space and dates," Slavick said of her growing digital archive. "It's a way of extending the show to artists and ideas beyond what I can include as a freelance curator in a particular time and place. It's a way of growing the community around the idea."

Related

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The Curator Archiving Gun Violence Through Art

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In 2015, Susanne Slavick, an artist, curator, and professor of art at Carnegie Mellon University, organized , a group show of over 22 artists. The purpose of the exhibition was to probe the culture of widespread access to guns and its consequences.

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Robert Longo was born in 1953 in Brooklyn, New York, and now lives and works in New York, New York. In 2016, the Garage Museum of Contemporary Art, Moscow, presented a major exhibition of his works alongside those of Francisco Goya and Sergei Eisenstein.

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COVID-19 Impact on our work

Colectivo Moriviví's practice is mainly public art and street art. During the early development of the pandemic our work almost came to a halt. Many projects were indefinitely postponed and others cancelled, but we quickly questioned our work dynamics and made efforts to channel our practice to areas of need like self-care and art as therapy.

As we all have felt and faced, this year has been very challenging. For our collective, the greatest challenge was to keep on producing community-led-arts, and exploring how that would look like with physical distancing.

We quickly understood that quarantine had a strong impact on the mental health of our community. As a response we moved to offer Online Art Workshops. These workshops have been designed to be therapeutic and open to everybody, with no art experience neccessary. Through art and creative techniques we offer a space to clear our minds and channel our feelings (you can access them below).

From another perspective, the many consequences of the pandemic, and 2020 being an election year put a lot of scrutiny over our governement. There where many corruption accusations and ongoing investigations, but unfortunately nobody has been prosecuted. Our political atmosphere has been tense and agitated for many years now because Puerto Rico cannot take much more abuse and exploitation. We react to this through art. That is why we've also produced a series of illustrations protesting our governement, and advocating for collective action and solidarity.

We also had the chance to produce two murals for our community: "El distanciamiento es físico, no social" and "Disección de la memoria". Amidst such a complicated atmosphere, we celebrate that. Although we had this small victory, we were still very conscious that we couldn't produce art with our community the way that we used to. This is why we set out to explore new ways to create community-led-arts: to conceptualize in a social distancing setting.

We came up with an initiative named "Tallereo Communitario" which roughly translates to 'Community Worshopping". Participants registered online to a series of workshops focused on elaborating ideas that we could traslate visually. We wanted to find ways to make possible the community conceptualization phase of our work while physically distancing. A phase which we believe is one of the most important components of our practice,

In these workshops, we managed to discuss and bring fourth two themes/ideas which Moriviví will draw from to to produce some public artwork. As a first and immideate response, we translated the ideas to digital illustrations that were launched through social media and online platforms during February and March 2021. First, we launched: "Sembremos: Homenaje a las Huertas Comunitarias" (Homage to Community Gardens). Secondly, we launched: "Trenzadas: Una cadena de Saberes y Vivencias" (Braided: A chain of wisodms & experiences).

Besides these concrete projects, we've also kept collaborating with fellow collectives, organizations and groups to support activism, the arts, and other social projects in different ways. If you're curious about those collabs feel free to reach us through email!

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COVID-19 Impact on our work Colectivo Moriviví's practice is mainly public art and street art. During the early development of the pandemic our work almost came to a halt. Many projects were indefinitely postponed and others cancelled, but we quickly questioned our work dynamics and made efforts to channel our practice to areas of need like self-care and art as therapy.

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https://archive.pittsburghartistregistry.org/accounts/view/ArtByWednesday

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A New Yorker Cartoonist Explains How to Draw Social Change | The New Yorker

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https://www.broobs.online/

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The Monologue Project (TMP) is an online resource featuring 30 original monologues from nationally recognized playwrights. TMP aims to increase the number of audition-length monologues for Women of the African Diaspora and celebrate their impact on theater and the world. We join in solidarity with the woman-driven activism of movements like Black Lives Matter, acknowledging the essential role of black women in America. We also acknowledge those women who have already contributed to this canon and who have paved the way for other writers and actors.
A Message Regarding Use
The Monologue Project was created to fill the very real need for suitable audition material for Women of the African Diaspora performing in the professional theatre. Participating playwrights recognized that need, and having a desire to be of service to Women of the African Diaspora in the theatre community, answered the call. These playwrights have generously offered their work to The Monologue Project for the purposes of providing audition material only. Actors in search of an audition piece are able to download a monologue, royalty-free. Please remember to credit the playwright for their work and keep in mind that because the work is copyrighted, you are not allowed to alter the text in any way. As to the question of a royalty (payment to the playwright), in this instance, a royalty is not required because auditions are typically closed to the public. However, should you wish to perform the monologue in a public setting, whether an admission fee is charged or not, you are advised to seek the permission of the playwright or his/her representative and may be asked to pay a royalty at that time. You are never allowed to videotape or record the work.

Founding playwrights for The Monologue Project include (in alphabetical order): Mando Alvarado, Chrystal Bates, France-Luce Benson, N'Jameh Camara, Zina Camblin, Kia Corthron, Gethsemane Herron-Coward, LeKeithia Dalcoe, William Duell, Kim El, Alesia Etinoff, Amy Evans, Rob Florence, Imani Maryahm Harrington, Dave Harris, Yona Harvey, Yvette Heyliger, Chisa Hutchinson, Levi Jelks, Christine Toy Johnson, Jewell McPherson, Dominique Morisseau, Ife Olujobi, Maxie Rockymore, Bianca Sams, Mark Southers, Daniel Talbott, Cori Thomas, Pamela Turner, Mfoniso Udofia, Bria Walker, Keith Wallace, Amy Gijsbers van Wijk, Pia Wilson, and Charlayne Woodard.

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The Monologue Project - Bishop Arts Theatre Center

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The Monologue Project (TMP) is an online resource featuring 30 original monologues from nationally recognized playwrights. TMP aims to increase the number of audition-length monologues for Women of the African Diaspora and celebrate their impact on theater and the world.

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Huey P Newton Story (Spike Lee produced)

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Huey P Newton Story (Spike Lee produced)

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A Huey P Newton Story 'snippet on rap music'

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New York City Department of Cultural Affairs

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Spoleto Festival USA & The Wooster Group

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Brothers Of The Tau Eta Chapter of Alpha Phi Alpha Fraternity , Inc.

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Carrie Mae Weems: "Grace Notes: Reflections for Now" | ART21 "Exclusive"

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Episode #238: A look at artist Carrie Mae Weems staging "Grace Notes: Reflections for Now," a performance that examines the escalating racial tensions across the United States, and the role of grace in the pursuit of democracy.

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3-4 min excerpts of: The People Are the Light, Children of NAN, Spirit

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Cleveland woman delivers powerful poem about social injustices

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On Black Lives Matter, intersectionality and race | Anna Deveare Smith