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Jeanne McCartin’s sculptures presented in the Provincetown exhibition


Denise J. Wheeler

Provincetown, at the tip of Cape Cod, is an oasis of dunes, glitter and art. It’s a beach lover’s paradise, a playground for the LGBTQ community, and home to one of America’s oldest artistic colonies. There are scenic views everywhere, be it the camp / vamp trail known as Commercial Street, or the curving tidal pool. While many come to P-town to see or be seen, Portsmouth sculptor Jeanné McCartin has come for a variation on this. She is there to see her art be seen.

McCartin and painter and gallery owner Steve Bowersock are the artists featured in “Trippin ‘: A Surreal, Fantastical, and Engageing Journey Into Two Very Peculiar Minds”. The exhibit opened to a lively crowd at the Bowersock Art Gallery in Provincetown on Friday August 20 and ran through September 2.

McCartin is widely known throughout the coast as an art writer and theater critic. She has also been an artist for over five decades – although she does not feel comfortable calling herself that.

“I’m finally ready to declare that I’m an artist,” she said the morning “Trippin ‘” opened. “It’s part of my evolution.

McCartin’s work has been featured in numerous art exhibitions over the years. For decades, she created original sculpted masks that were often as much social commentary as striking works of art. The elements of mask making continue to play a major role in his latest 3 and 4 dimensional pieces.

"Jellyfish, Warrior, Survivor" by artist Jeanné McCartin, who recently presented his works in an exhibition at the Bowersock Gallery in Provincetown, Massachusetts.

McCartin uses several cellulose and polymer pastes to create narrative sculptures – images of women – alternately empowered, angry, or vulnerable – and children enshrined in the wonders of youth.

The Provincetown Independent describes his work as “raw and fascinating”, claiming that some have “a puppet quality and a Tim Burton air”.

Gallerist Bowersock describes McCartin’s sculptures as “deeply relevant and highly collectable”.

“I do two things with my art,” says McCartin. “I create fantastic pieces featuring children. They represent things like Halloween fun, conquering the spooky monster under the bed, or kids making pirate ships out of cardboard boxes. The themes are the imagination and the experience of exploring and discovering life.

"Troubled Water" by artist Jeanné McCartin

With the dynamism and color of a circus palette, these pieces have a storybook aesthetic and innocence that both charms and delights the spectators, launching them into whimsical flights.

Then there are his works which speak of the human condition, which make the pain palpable and real.

Influenced by German artist Käthe Kollwitz, whose WWII works illustrate the effects of poverty, hunger and war on the working class, McCartin makes no effort to show his torment.

“Käthe’s work may tear your heart, but it makes our human condition elegant,” says McCartin. “We want to take the pain out of life, but it’s really part of life. Behind every fight, in this ultimate fight to overcome pain, there is human perseverance. Whenever we overcome adversity, we honor life. I want to show it in my work.

Artist Jeanne McCartin, left, and painter and gallery owner Steve Bowersock are the artists featured in

People are reacting. Earlier this summer, McCartin sent Bowersock a 3D sculpture of a snake-haired woman, hunched over fragments of a warrior, fists clenched, screaming in fury. Called “Medusa,” the room exuded pure rage. Bowersock, known for exhibiting innovative and eclectic works, placed it in his gallery window.

It sold out within days.

“Jeanné is one of those artists who are not mainstream. It’s distinct, ”says Bowersock. “It is highly collectable and skilled. When you come across his work, you connect to it immediately.

Bowersock, whose surreal and dreamlike oil paintings make up the other half of the ‘Trippin’ ‘exhibition, has been friends with McCartin for more than two decades, having bonded through a shared love of symbolism and storytelling. .

"Slide sliding away" by artist Jeanné McCartin

For “Trippin ‘,” they challenged themselves to use the difficult COVID-19 time to delve deeper into personal and cultural issues.

“It helped that Jeanne and I were in constant contact throughout, sharing both the process and the pain,” Bowersock says. “We talked about making a concerted effort not to edit what was said, and just push the new techniques to the limit.”

When he saw McCartin’s results this summer, he knew she had done just that.

“When I first met Jeanné, you could see his theatrical side in his work. Since then, she has taken that and turned in on herself, ”he says. “The stories are deeper and more relevant to our world. She is one of those artists whose work will always be relevant today.

"Oldest stories, oldest fears" by artist Jeanné McCartin

That McCartin sees herself as an artist only now may seem mind-boggling to some, and quite understandable to any woman who has crossed that tightrope in balancing career, creativity, and caring with her evolving identity.

“It took so long because of my family’s attitude, cultural attitudes and probably gender factors,” says McCartin. “In our culture, art is considered a hobby. As my mother used to say, I was the “artistic handyman”. She didn’t call me an artist until I was in my 50s.

McCartin discussed this dynamic with her friend and fellow female artist Christopher Gowell, founding executive director of the Sanctuary Arts School of Arts in Eliot, Maine.

Before the opening of “Trippin ‘,” Gowell wrote this as a tribute to McCartin, “As aging women, we are invisible, neglected, left on our own, just hoping to survive an unjust society. As women. creative, we are demeaned… Our hard work is seen as a game – not serious, not part of the patriarchal systems of galleries and museums, but diminished because we use “tricky” materials such as papier mache or work in a ‘decorative object’ ‘or narrative tradition. “


Don’t make the mistake, Gowell says, of downplaying McCartin’s art. He says “which is usually not said, that we are fearful, anxious, sad, angry – all in equal measure.”

McCartin says that tapping into deeply intimate ground and channeling it into his art strengthened his commitment to it.

“The more I made honest statements to myself through my art, the more I got involved. Art has become more passionate and necessary – it motivates me completely now.

Changing the way she prioritizes her time to create has also helped her see herself as an artist.

"Brittle" by artist Jeanné McCartin

“I increased the level of my personal commitment to making art,” she says. “It means I’m spending more time on it. Art isn’t the last thing I spend time on, it’s the first thing.

At the opening of the exhibition, McCartin spoke with guests and discussed his work. A guest said she was afraid to buy a sculpture of a person turning away from the peril of life or death because it would “rip off the character’s head.”

“She got it,” McCartin laughs. “She recognized the story behind the coin.”

“People have said great things,” she added. “More importantly, they seemed to capture the themes of the plays – which is very important to a storyteller.”

For more information on ‘Trippin’, A Surreal, Fantastical, and Engaging Journey Into Two, Very Peculiar Minds’, at the Bowersock Gallery, 373 Commercial St., Provincetown, Massachusetts, visit https://bowersockgallery.com/.

Editor’s Note: Jeanné McCartin is the theater critic for the Seacoast Media Group and writes his weekly column Gossip.

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Felicia Pride, writer and director of “Really Love,” on How Wash, DC inspired the love story


* Kofi Siriboe and Yootha Wong-Loi-Sing are the stars of the MACRO romantic drama “Really love.

The film tells the story of an emerging black painter named Isaiah (Siriboe) living in newly gentrified Washington DC on the dawn of a booming career. He meets Stevie (Wong-Loi-Sing), a law student whose ambitions do not match her family’s vision for success. The two fall in love and Stevie becomes Isaiah’s muse. But soon, neglect causes problems, leaving the two to wonder if they have a future together.

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Really Love screenwriter and native of DC Felicia Pride explained his inspiration for writing history.

“It was wanting to tell a love story that felt genuine,” she said. “One who felt lived, in terms of experience. The one who comes and goes. It’s linear, not linear. It is an open and complete circle. I also wanted to show complicated and beautiful black people in this love story. In love, in friends, in family, in community. And wanting to show DC as such an important place for so many black people. It has a cultural and artistic base and a rich historical landscape. Also because we haven’t seen a black love story in a while.

For director Angel Kristi Williams, showing the film in his hometown of Baltimore with a host of friends, family and Baltimore residents was magical.

“I’m inspired by a lot of our classic love stories, some very old ones too,” Williams said. “Seeing Kofi and Yootha on screen looking chocolate and dewy – with the audience I made the movie for – was magical. Being able to connect with them personally meant a lot.

The film also features Uzo Aduba, Naturi Naughton, Jade Eshete, Blair Underwood, Michael Ealy and Suzzanne Douglas, in his last on-screen role.

Really love“is streaming on Netflix.

Kofi Siriboe and Yootha Wong-Loi-Sing in “Really Love”

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The work of the first internationally renowned African-American painter explored: NPR


Photograph by Henry Ossawa Tanner in 1907.

Frederick Gutekunst (1831-1917) / National Portrait Gallery, Smithsonian Institution

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Frederick Gutekunst (1831-1917) / National Portrait Gallery, Smithsonian Institution

I just met Henry Ossawa Tanner. Nice tip, since he died in 1937. Tanner was the first African-American artist of international renown. His paintings are in many museums, but I have seen them countless times. Now, in preparing this column, I got to know a little about his life and his time (as well as new revelations about his artistic thinking) and I thought of making the introductions.

Absolutely sir. Born in Pittsburgh, 1859. Raised in Philadelphia. Expatriate death in Paris. “He immediately saw that he could do better in France,” explains Sue Canterbury, curator of the Dallas Museum of Art.

He had a hard time getting into the art classes he wanted – and finding teachers who would accept him. In France, the color of the skin mattered less. He told a magazine writer, “in Paris nobody looks at me curiously. I’m just Mr.[onsieur] Tanner, an American artist. No one knows or cares about the complexion of my ancestors. “

The French loved his work. In 1897, the government bought one of his pieces for the state collections. With this rare honor, his reputation soared. Museums began to buy tanners. In 1900, as massive reproductions of the portrait of Christ and books on his life circulated, curator Canterbury said: “Tanner was considered the foremost European painter of religious scenes.

Henry Ossawa Tanner, Christ and his mother studying the scriptures, vs. 1908, oil on canvas, Dallas Museum of Art

Dallas Museum of Art

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Dallas Museum of Art

It’s a beautiful image, with what has been called “Tanner Blue” – a color that has become his signature. Tanner’s role models were his wife Jessie Olsson (Swedish American from San Francisco; she was studying opera when Tanner met her in Paris) and their son Jesse. Family influence is at the heart of Tanner’s religious works. Her father was a pastor in the African Methodist Episcopal Church. The family was highly educated, and Canterbury says their home was “a center of black cultural life” in Philadelphia.

Christ and his mother studying the scriptures is one of two Tanners on display at the Dallas Museum of Art through early January. Conservation work has been done on both, and x-rays and infrared photography revealed surprises and glimpses of the artist’s thought process.

X-ray of Christ and his mother study the scriptures showing the underlying abandoned composition.

Dallas Museum of Art

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Dallas Museum of Art

“Conservation never gets old,” says conservator Laura Hartman. “There is always an ‘aha!’ moment. “In this one, when the painting was rotated horizontally, the x-rays showed another composition underneath. Two figures draped in a landscape. Ah! No one had seen them before. Tanner ditched them and walked away. is turned to the Holy Family instead.

The other Tanner in Dallas (both paintings presented in collaboration with the Art Bridges Foundation) was done early in his career. Scholars call it a “genre” painting – a glimpse into ordinary everyday life.

Henry Ossawa Tanner, The grateful poor, 1894, oil on canvas, Bridges of art

Dallas Museum of Art

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Dallas Museum of Art

Henry Ossawa Tanner, The grateful poor, 1894, oil on canvas, Bridges of art

Dallas Museum of Art

Religion also plays a role in this play. The old man reaches for the heavens with his hands in prayer. His prayer of thanks is so intense. The boy is concentrating too, but I wonder if he isn’t fidgeting a bit. See how the bench he’s sitting on tilts forward?

Hartman’s findings here show Tanner working on composition.

Henry Ossawa Tanner, The grateful poor, 1894, oil on canvas, with drawn overlay

Dallas Museum of Art

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Dallas Museum of Art

He moved the plates and postures to showcase the old man’s hands. After conservator Hartman removed the blackened coat of varnish, she revealed Tanner’s use of many colors – vivid blues, oranges, layered, scraped, sanded and textured.

Detail (photomicrograph) showing several colors in a marbled paint stroke of The grateful poor

Dallas Museum of Art

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Dallas Museum of Art

At the age of 11, Henry Ossawa Tanner spotted a man painting in a park in Philadelphia. The boy decided he wanted to paint too. His parents gave him 15 cents, and he bought – his words – “dry colors and a few scruffy brushes.” Eventually he became well known and a source of inspiration. Working in his Parisian studio, he was a model for other painters.

Canterbury says that “any African-American artist who went to Europe had to make a pilgrimage to see Tanner”. They saw an artist succeed despite prejudices, who encouraged and helped them with advice, even money. Those first 15 cents ended up being a great investment.

Art Where You’re At is an informal series featuring online offerings at museums you may not be able to visit.

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Writer and poet wins Lifetime Achievement Award


MOUNT DESERT – The Dorothea and Leo Rabkin Foundation is dedicated to recognizing and rewarding writers who make art accessible to the general public. The directors of the Rabkin Foundation announced that the foundation has awarded a lifetime achievement award of $ 50,000 to poet and art critic Carl Little of Mount Desert.

For over 30 years, Little has been a major cultural link between Maine and New York City, writing on the Maine art scene for national publications and on the wider art world for Maine magazines. .

Suzette McAvoy, recently retired director of the Center for Maine Contemporary Art in Rockland, describes Little as “a champion of art and artists in Maine and beyond.”

“His many books on art, written with enthusiasm and sensitivity, draw on his deep knowledge of art history and his active engagement with artists and the artistic community,” says McAvoy. “His work is and will remain an important contribution to the history of art in Maine and America.

Little began writing about art in 1980, the year he obtained a master’s degree in poetry from Columbia University. He first wrote reviews for Arts Magazine, then in 1986 became associate editor of Art in America. He continued to write for Art in America after moving to Maine in 1989, after being introduced to the coast and islands of Maine by his uncle, painter William Kienbusch.

In recent years, Little has been a regular contributor to Hyperallergic and Art New England and for 25 years he has written artist profiles and reporting for Maine Boats, Homes & Harbors.

In addition to art critics and journalism, Little has published 30 art books, including “Paintings of Maine”, “Paintings of New England”, “The Watercolors of John Singer Sargent”, “Edward Hopper’s New England” , “Winslow Homer and the Sea”, Eric Hopkins: Above and Beyond “,” Art of the Maine Islands “,” Art of Acadia “and” Art of Monhegan Island “.

Little is also the author of monographs on Joel Babb, Philip Barter, Jeffrey Becton, Beverly Hallam, Francis Hamabe, Dahlov Ipcar, William Irvine and Irene Hardwicke Olivieri. He won the first John N. Cole Prize for Nonfiction from the Maine Writers & Publishers Alliance in 2012. Little is also the editor of “Discovery: 50 Years of Craft Experience at Haystack Mountain School of Craft” and “Art of Katahdin” , a collaboration with his brother, the painter David Little.

As a poet, Little has published two collections, “3000 Dreams Explained” and “Ocean Drinker: New & Selected Poems”.

The Dorothea and Leo Rabkin Foundation, headquartered in Portland, presents annual awards to eight visual arts journalists from across the country. This is the third time that the foundation has awarded a Lifetime Achievement Award. Leo Rabkin was an artist who worked and exhibited in New York for 60 years. His wife, Dorothea, partnered with Leo to create a historic collection of American folk art and brut art. They lived in New York and had a large circle of friends, including artists, writers, and curators. Leo wanted the foundation to help art journalists who play a vital role in the art community nationwide.

The directors of the Dorothea and Leo Rabkin Foundation are: Edgar Allen Beem of Brunswick (artistic journalist, political columnist); Deborah Irmas from Los Angeles, California (writer, art historian, philanthropist), Nancy Karlins Thoman from New York (art historian, curator, journalist). The executive director of the foundation is Susan C. Larsen (art historian, curator).

For more information, contact Danielle Frye, executive assistant and gallery owner, at [email protected]

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After losing the use of his dominant arm, painter changes life with CGI


NEYAGAWA, Osaka Prefecture – Toshio Katsuma, a painter, was devastated when he lost the ability to use his dominant left hand due to sudden illness 11 years ago.

He no longer knew how to draw. It was a blow, and he almost lost the will to live.

But seven years later, the artist fulfilled his long-held dream of hosting a solo exhibition through hard work and the help of a computer and a friend’s pet chat.

A CG illustration of a cat (Provided by Toshio Katsuma)

Katsuma, 70, has always been good at drawing since childhood.

When he was in high school, his sci-fi comic book became popular among his classmates, earning him the nickname “Manga”.

He decided to pursue a career in drawing after graduation, and then study at a professional painting school instead of a high school.

Katsuma made his professional debut as a manga artist at the age of 18 when his first work was published in the comic book anthology Weekly Shonen Magazine, which also published the hugely popular serial titles “The Star of the Giants “and” Ashita no Joe “(Tomorrow’s Joe).

Unfortunately, none of his manga works gained popularity, and his manga career ended after about three years.

Yet he relied on his talents as a painter to survive, working as an instructor at a vocational school and providing illustrations for advertisements and other services.

In December 2010, he felt his hands shake. He collapsed at his home in Osaka after working without sleeping to finish a drawing.

He had suffered a stroke.

When Katsuma came to himself, he felt numb along the left side of his body and couldn’t hold a brush with his dominant hand.

He was 59 at the time.

His doctor told him that he could no longer work as a painter.

But Katsuma refused to give up.

An image of a cat drawn by Toshio Katsuma using a personal computer for the first time after suffering a stroke (Provided by Toshio Katsuma)

Thinking that he might be able to draw using a personal computer, he moved the mouse with his right hand and made a drawing. He continued even though he was not happy with the result.

Two years later, a friend asked Katsuma to draw her pet cat. It pleased her to see that she was delighted with the portrait he had created on his computer.

He posted the drawing on his Facebook page, and it instantly attracted hundreds of likes and gave him confidence in his skills.

Since then, Katsuma has uploaded her drawings every day.

His models are invariably stray cats. Having lost an important part of himself, he identifies with them as they roam the streets without being noticed by anyone.

His drawings caught the attention of an art dealer, who helped Katsuma organize a solo exhibition at a department store in Saitama Prefecture in September 2017. It was his first experience showing his works in a gallery. .

Some visitors shed tears as they remembered their dead animals.

“I always wanted to draw pictures that would be remembered because I had only drawn manga and other designs that would be thrown away after a short while,” Katsuma said.

It was as if a new path opened before him, he said.

He has since held solo exhibitions in department stores and bookstores in Tokyo, Fukuoka, Osaka and elsewhere across the country.

An acrylic painting of a cat drawn by Toshio Katsuma with his non-dominant right hand (Provided by Toshio Katsuma)

Two years ago, when Katsuma was holding a paintbrush with his right hand, he was pleasantly surprised to find that he could draw as well with it as he once could with his dominant hand.

During a solo show in January at a department store in Osaka’s Minami district, Katsuma drew an acrylic painting of a cat with a brush for a live event.

“I want to organize personal exhibitions exclusively using my hand-drawn paintings in the years to come,” Katsuma said.

He said he is now determined to move beyond the skill level he had before he got sick.

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First large-scale museum exhibition for avant-garde abstract painter Jacqueline Humphries


This fall, the Wexner Center for the Arts at Ohio State University will dedicate its galleries to the first large-scale museum exhibition of avant-garde abstract painter Jacqueline Humphries. On view from September 18 to January 2, 2022, jHΩ1 🙂 will showcase more than 30 paintings, including a new multi-panel installation, its largest to date, created in response to the centre’s iconic postmodern architecture.

“We are delighted to host this important exhibition, which comes at a key moment in the artist’s career. Jacqueline’s paintings are not only beautiful, but powerful large-scale creations that push the boundaries of abstract painting as we think we know it. Seeing this work in a playful fight with the architecture of the Wex will be an unforgettable experience for viewers, ”said Johanna Burton, Executive Director of the Wexner Center.

The exhibition is curated by guest curator Mark Godfrey, whose recent projects include Soul of a Nation: Art in the Age of Black Power 1963-1983, critically acclaimed, and Laura Owens & Vincent van Gogh, which will open on 19 June at the Vincent van Foundation. Gogh Arles.

A fall exhibit opening will take place on Friday, September 17 and feature a conversation between Humphries and Godfrey. The opening celebration begins at 5 p.m.

On Monday October 4th, Godfrey will be back for “Where Does Art Lie?” The conference begins at 4 p.m.

On Wednesday, October 27, Humphries will join artist and writer Felix Bernstein for an event featuring a performative dialogue from the two, with an invitation for audience participation. The dialogue takes place at 4 p.m. and 7 p.m.

Jacqueline Humphries: jHΩ1 🙂 will take place from September 18, 2021 to January 2, 2022 at the Wexner Center for the Arts, 1871 N. High St. (at 15th Avenue) on the Ohio State University campus in Columbus.

The current gallery opening hours are 11:00 am to 4:00 pm Sunday, Tuesday to Wednesday and Friday to Saturday; and 11:00 a.m. to 7:00 p.m. Thursday, but hours will be extended this fall before the exhibition opens. Admission is $ 9; $ 7 for seniors and Ohio State teachers and staff. Entrance to the gallery is free for Wexner Center members, students, veterans and serving military personnel, as well as visitors 18 and under, and free on Thursdays from 4 p.m. to 7 p.m. Admission is also free for all on Sundays, powered by the American Electric Power Foundation.

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Rijuda, CA Creator, Singer, Painter Passes Away in Kolkata | Calcutta News

KOLKATA: Very few people lived and savored life like Buddhadeb Guha did. Author, singer, painter and CA were just four of his many facets, the larger image being of a tall man. On his last trip Monday, many described him as the king of his famous teenage story, “Baja Tora Raja Jae”.
Guha, who was 85, died of post-Covid complications in a hospital on Sunday evening. After a brief recovery from Covid, he was at home but started complaining of shortness of breath and kidney problems, which brought him back to hospital, where he died. “But not before saying goodbye,” said Bamacharan Mukhopadhyay, his friend for over 30 years who has edited several books on Guha.

He and dermatologist Kaushik Lahiri were Guha’s constant companions. Whether in McCluskieganj, Palamau, the Sunderbans or the jungles of North Bengal, vignettes of which can be found in Guha’s stories for children and adults, Mukhopadhyay and Lahiri followed him like a shadow.
“For the past few years, when his health and eyesight had confined him indoors and he couldn’t write, Dada dictated his stories,” Lahiri said. The creator of the very popular “Rijuda” and “Ribhu” was as skilled with a brush as his quill. “Sometimes I lose track of my words and see them turn into pictures, then the pen automatically turns into a brush,” Guha said at her home in Ballygunge, while accepting an invitation to the Times Lit Fest.
Guha was trained in Rabindrasangeet in Dakshini, where he met his wife, Ritu Guha, a Tagore music expert, who died before him. He also trained in classical music and old Kolkata toppa music with Ramkumar Chattopadhyay and Chandidas Mal. “Music was as close to his heart as writing and he was ready to sing, with or without asking. Once, while we were in a tea garden in Jalpaiguri, he disappeared. After almost an hour of searching, I found him in the line of coolies, chanting the toppa, ‘Kichhui to holo na’, to the garden workers. They did not understand a word but sat down in front of the majestic artist, ”said author Samaresh Majumdar. Similar stories were shared by writer Amar Mitra, who was also close to Guha.
Friends for 60 years, author Shirshendu Mukhopadhyay found Guha the most beautiful man when they were both 25 years old. I used to say you are miles ahead of us, ”he laughed, a tear escaping him. “Until he was absolutely confined to the house, he would come home every winter, asking my wife to prepare the marrow for him. She also passed away yesterday, ”he said.
Guha has entrusted Lahiri with a large collection of his letters and paintings and an anthology is in preparation. “He oversaw a lot of it and told me how he wanted the book to be. I’ll do my best to stick to the instructions. Now that he is not there physically, the instructions and suggestions he would constantly give me will ring louder, ”said Lahiri.
Prime Minister Narendra Modi tweeted: “The writings of Shri Buddhadeb Guha were multifaceted and showed great sensitivity to the environment. His works have been appreciated through the generations, especially among the young. His death is a great loss for the literary world. Chief Minister Mamata Banerjee tweeted: “Deeply saddened by the disappearance of Buddhadeb Guha, one of Bengal’s most famous authors. He leaves behind a huge void in Bengali literature.

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Tribute to the writer Bulbul Chowdhury


Bulbul Chowdhury. Photo: Collected


Bulbul Chowdhury. Photo: Collected

People from all walks of life paid their final tributes to Ekushey Padak’s award-winning writer Bulbul Chowdhury on the premises of Bangla Academy yesterday.

They placed wreaths of flowers on the casket and stood in silence to pray for his dead soul, while some said their farewells in tears.

For all the latest news, follow the Daily Star’s Google News channel.

The 73-year-old writer breathed his last around 6 p.m. Saturday at his residence in Bangla Bazar in the capital. He was suffering from cancer, his son R Rafi told the Daily Star.

His body was taken to the premises of the Bangla Academy around 11 a.m. yesterday for a final tribute after his first namaz-e-janaza took place at a local mosque in Bangla Bazar.

After his second namaz-e-janaza at the academy

local, he was buried in the cemetery of the intellectual martyrs of Mirpur.

Meanwhile, Prime Minister Sheikh Hasina expressed his deep shock and sadness over the writer’s death.

In a condolence message yesterday, the Prime Minister prayed for his eternal peace and expressed his deep sympathy to the bereaved family.

Bulbul Chowdhury was born on August 16, 1948 in Dakshinbag in Gazipur.

Besides the Ekushey Padak for his contribution to Bengali literature, he also received the Bangla Academy Literary Prize, Humayun Qadir Smriti Purashkar and Jasimuddin Smriti Purashkar, to name a few.

Tuka Kahini, Machher Raat, Aparup Bil Jhil Nodi, Tiyaser Lekhon, Jibaner Ankibunki, Atoler Kathakatha, Prachin Gitikar Golpo are some of his popular works of fiction.

Bulbul Chowdhury is survived by his wife and three sons.

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Director Angel Kristi Williams and Co-Writer Felicia Pride Talk About ‘Really Love’


Blackfilm.com correspondent Ellen J. Wanjiru speaks with the director Angel Kristi Williams and co-author Felicia Pride on inspiration and their collaboration in ‘Really love‘. Watch the interview below!


Set against the backdrop of a gentrified Washington DC, Isaiah, an emerging black painter is about to burst or give up when he meets Stevie, an intriguing beauty with a big brain.

They fall in love with each other, hard. Stevie quickly becomes one of Isaiah’s biggest fans and artistic muse. Isaiah’s creativity flows with her in her life, but her work remains overlooked by curators and collectors, hurting her ego. When Isaiah finally convinces a renowned gallery owner to try his luck, he devotes himself to his work, neglecting Stevie. Isaiah’s debut solo show catapults him into new artistic echelons, but it doesn’t leave much room for Stevie. Reluctantly, she accepts a dream job in Chicago, breaking Isaiah’s heart.

A year goes by without communication, until Isaiah meets Stevie at her group show in Chicago. Sleepy feelings rise to the surface. When Stevie returns to the neighborhood at Isaiah’s invitation, her life looks better; the art world has baptized him its new “it boy”. But Isaiah’s life isn’t what he imagined and he’s forced to face the truth: can he give Stevie what he knows she deserves?

With: Kofi Siriboe, Yootha Wong-Loi-Sing, Uzo Aduba, Mack Wilds, Naturi Naughton, Suzzanne Douglas, Jade Eshete with Blair Underwood and Michael Ealy. Realized by Angel Kristi Williams.

Really love is funded and co-produced by MACRO. Now streaming on Netflix.

Kofi Siriboe & Yootha Wong-Loi-Sing

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In memory of Frank Soos, former award-winning Alaska writer and professor of creative writing

Frank Soos (Photo courtesy of 49 writers.)

Former Alaska award-winning writer and professor at the University of Alaska Fairbanks, Frank Soos, has passed away. Soos was on a solo bike ride in Maine last Wednesday when he suffered a fatal accident.

Frank Soos was born in 1950 and raised in the mining town of Pocahontas, Virginia. His parents had a market and this education taught Soos and his brother the value of hard work and community. Soos has never lost his regional accent or his self-defeating courtesy. While his literary interests originated in high school, they caught fire at Davidson College.

“Davidson sort of looked like that dream,” Soos said in 2019. “There were all these guys sitting under the trees reading books and talking. I thought, wow, if it’s college, I can do it.

At Davidson, Soos would meet his longtime friend and sometimes collaborator, art historian and painter Kesler Woodward. After college, Soos taught high school for a while and found out he liked it, but life as a writer beckoned him and he entered the Creative Writing Program at the University of L ‘Arkansas, where he earned an MFA. Soos said higher education was unexpectedly enlightening.

“It was a horrible program,” he said. “It was intentionally cruel, and I decided I would never participate in a program like this if I was a teacher.”

These lessons found expression when he joined the English department at the University of Alaska at Fairbanks in 1986. There he met poet Peggy Shumaker and together helped forge a creative writing program. which has attracted writers from across the country and trained a new generation of renowned Alaskan writers.

“We had graduate students coming to me and I was like ‘Here’s where you can compress,’” Shumaker said. “And then they would go to Frank and Frank would say, ‘Well, maybe this is a place you can do it longer. “And I’m sure we confused a lot of students at first, but believe it or not, it worked.

Shumaker said Soos was the most generous teacher she had ever met.

“You learn when you are a teacher that if you put demands on students, you will impose them on yourself,” Soos said in 2019. “So to turn it around, that means you sit at your desk and read a lot. articles and lots of comments to prepare for all of these conferences. This is teaching.

This commitment to hard work extended to her writing. Shumaker says that in addition to his elegantly crafted phrases and odd ear for dialogue, Soos continued to write no matter what.

“He worked for decades with very little recognition and then suddenly he had two pounds at a time,” she said. “And he was typically modest. But what he always did, in good times as in bad times, he just kept plugging in.

This tenacity saw Soos win the Flannery Connor Prize in 1998 and become the Alaska Laureate Writer in 2014. A posthumous collection of Soos stories is expected to be published in 2023.

While Soos has always claimed to be a loner, he has managed to form a series of creative collaborations – with Shumaker and the painter Woodward and more intimately with his wife and artist Margo Klass. He is also inextricably linked to the Fairbanks bike and ski clubs. Longtime friend and fellow Nordic skier, Susan Sugai said that while Soos does not compete in races like the 50K Sonot Kkaazoot, he does volunteer bibs or timing races.

“He knew times are important to people,” she said. “It’s not necessarily the people who win, it’s the people who participate and try to improve. He liked it.

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