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Brown University Professor and Media Artist Tony Cokes Among MacArthur Awardees
When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees.
Special to The Post
When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.
Tony Cokes
Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.
Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.
According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.[5]
His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.
Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.
In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.
He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).
Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”
Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.
The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.
More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.
Antonio Ray Harvey
Black Leaders, Political Orgs, Sound Alarm About Project 2025
With the general elections just a few days away, Black organizations and leaders, including Rep. Maxine Waters (D-CA-43), are sounding the alarm about Project 2025, the Heritage Foundation’s controversial “policy bible.” The four-pillar initiative includes a detailed blueprint for the next conservative presidential administration – making way for a sweeping overhaul of the executive branch.
By Antonio Ray Harvey, California Black Media
With the general elections just a few days away, Black organizations and leaders, including Rep. Maxine Waters (D-CA-43), are sounding the alarm about Project 2025, the Heritage Foundation’s controversial “policy bible.”
The four-pillar initiative includes a detailed blueprint for the next conservative presidential administration – making way for a sweeping overhaul of the executive branch.
Waters has been outspoken in her opposition of the 900-page policy.
Recently, she shared “The People’s Guide to Project 2025” with the Inglewood Area Ministers Association, an organization of predominantly Black pastors, to inform them about the proposal’s impact, emphasizing that its influence would reach beyond the traditional spheres of presidential power. The 15-term politician from Los Angeles shared her sentiments with the House Financial Services Committee in July.
“Project 2025 promotes radical ideals to materially undermine the Federal Reserve, if not effectively abolish it,” Waters said.
Written by the Heritage Foundation, Project 2025 was developed with the input of a broad coalition of conservative organizations and is organized around four pillars: Policy, Personnel, Training, and the 180-Day Playbook. The proposals in the document aim to revamp every aspect of the U.S. government.
Waters is not the only person sounding the alarm about Project 2025’s agenda. Grassroot organizations in California and across the nation are preparing to combat the initiative despite who wins the election between Trump and U.S. Vice President Kamala Harris.
The National Assembly of American Slavery Descendants (NAASD), members of advocacy groups in California, and other Black political organizations across the nation are drawing up policy documents to counter the conservative Project 2025 initiative.
On Aug. 2, NAASD hosted a nationwide ZOOM conference call to discuss policies that concern Black communities. Nocola Hemphill, the president and chief executive officer of the U.S. Black Women’s Chamber, and grassroots organizations on the call are promoting what they call, #Reparations2025.
“I just want us to think about bringing all policies (ideas) together when we think about Project 2025,” said Hemphill, who lives in South Carolina. “I am excited about the possibility of us forming our own version of Project 2025 and having it published by the November election.”
NAASD is a nonprofit association of community activists from across the country that formed around May 2019.
Los Angeles resident Khansa “Friday” Jones Muhammad is the president of NAASD.
“The National Assembly of American Slavery Descendants (NAASD) envisions a nation where African American descendants of US slavery can fully exercise their constitutional citizenship rights and have economic agency for generations,” Muhammad told California Black Media (CBM).
While forming an agenda for #Reparation2025, NAASD has created a survey to determine how systemic racism and discrimination in the United States have affected Black American lives and single out options to repair harms through public policy. Participants in the survey would help the organization shape a national blueprint.
“During this election cycle, it is imperative that national Black organizations come together for collective success,” Muhammad shared with CBM. “While the vote for President of the United States is important, we need to also focus on other active projects such as ‘Project 2025,’ Supreme Court rulings around race and more.”
Muhammad added, “NAASD’s Black experience survey allows for individuals, Black organizations, and their allies to forge a pathway to reparations by utilizing community-building and policy.”
California Black Media
Biden Appoints Black San Diego Attorney to California District Court Judgeship
On Oct. 23, President Joe Biden nominated two judges to vacant federal judgeships in Southern California: Judge Serena Murillo and Judge Benjamin Cheeks. Both appointments are subject to U.S. Senate confirmation next month.
By Bo Tefu, California Black Media
On Oct. 23, President Joe Biden nominated two judges to vacant federal judgeships in Southern California: Judge Serena Murillo and Judge Benjamin Cheeks.
Both appointments are subject to U.S. Senate confirmation next month.
If confirmed, Cheeks, who is African American and a criminal defense attorney, will replace U.S. District Judge Gonzalo P. Curiel. Before his appointment, Cheeks was in private practice at the Law Offices of Benjamin J. Cheeks, A.P.C. in San Diego from 2013 to 2024. From 2010 to 2013, Cheeks served as an Assistant U.S. Attorney in the U.S. Attorney’s Office for the Southern District of California.
The same day of the White House announcement, California’s U.S. Senators Alex Padilla and Laphonza Butler, both Democrats, and members of the Senate Judiciary Committee, congratulated Murillo and Cheeks and commended Biden on his decision.
“I applaud President Biden for his continued commitment to nominating highly qualified, diverse judges to serve California,” said Padilla in a statement.
“Judge Cheeks has earned immense respect from his colleagues in the Southern District and has fought to protect vulnerable immigrants against fraud,” Padilla added.
Butler said, “Californians deserve a federal bench that reflects the diversity of the Golden State.
“I applaud the President’s nomination of Judge Serena Murillo and Judge Ben Cheeks to the United States District Courts for the Central District and Southern District of California, respectively. These two incredibly qualified candidates bring a breadth of both judicial and lived experienced to the federal bench, and I look forward to supporting their paths to confirmation,” she continued.
Murillo, who has been a judge on the Los Angeles Superior Court since 2015. She also served by appointment of the Chief Justice of the California Supreme Court as an Associate Justice pro tem on the California Court of Appeal from 2018 to 2019. Prior to joining the bench, Judge Murillo served as a Deputy District Attorney in the Los Angeles County District Attorney’s Office from 1997 to 2014. She received her J.D. from Loyola Law School in 1996 and her B.A. from the University of California, San Diego in 1993.
Cheeks earned his J.D. from the American University, Washington College of Law in 2003 and his B.A. from the University of Miami in Florida in 2000.
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