Art

REVIEW: Ishmael Reed’s Play “The Slave Who Loved Caviar,” Comments on Black Artists and White Sponsors

[Haitian-Puerto Rican American artist, Jean-Michel] Basquiat rose to fame in the neo-expressionist art movement in the 1980s and [Andy] Warhol, one of his mentors, had gained renown for Pop Art and drug use in the 1960s. They died within a year of each other, Warhol at age 59 in 1987 and Basquiat died of an overdose at age 27 in 1988.

Published

3 years ago

January 9, 2022

Oakland Post

Detective Mary van Helsing (Roz Fox), left, rescues Jennifer Blue (Kenya Wilson), one of the victims in the continuing exploitation of Blackness. Photo by Jonathan Slaff.

By Wanda Sabir

Ishmael Reed’s current play, directed by Carla Blank, “The Slave Who Loved Caviar,” at Theater for the New City until January 9, explores Black culture and white exploitation in the relationship between the Haitian-Puerto Rican American artist, Jean-Michel Basquiat and Andy Warhol.

Basquiat rose to fame in the neo-expressionist art movement in the 1980s and Warhol, one of his mentors, had gained renown for Pop Art and drug use in the 1960s. They died within a year of each other, Warhol at age 59 in 1987 and Basquiat died of an overdose at age 27 in 1988.

There are so many analogous parallels, both fictional or mythic and actual that it is amazing that the play only has one intermission.

In his play, Reed postulates that the older, white artist presented himself as a benevolent father figure. While under the influence of drugs, a willing Basquiat allows Warhol to install him in a basement where Basquiat churns out art like an assembly worker.

Reed’s premise here is that Warhol had gotten away with a crime.

The cold case is reopened by two forensic scientists, Grace and Raksha, (Monisha Shiva and understudy Kenya Wilson) who want to bring the perpetrators to justice. As the contemporary team investigates, time shifts back and forth as what happened to Basquiat had perpetuated with other captives.

Slave owners used cocaine — which Basquiat used excessively — to increase productivity among the captives, Reed says. Just as slavery was once legal, the Warhol machine also had legal protection, money and power.

Reed’s writing is crisp and sharp as are the actors who deliver and deliver and deliver some more. Carla Blank’s direction is also on point as the diction and storylines unfold clearly in nuanced layers.

I love the scene in Act 2 where the ghost of Richard Pryor — appearing as a shadow puppet danced by actor, Kenya Wilson — tries to prevent Basquiat from going up in chemical flames like the late comedian had.

Pryor’s ghost speaks to the art of selling out to Hollywood, another type of killing field for Black art and artists. We sense Pryor’s regret that he didn’t stay with people who loved him. It’s hard to tell friend from foe when engulfed in f(l)ame(s).

Reed’s characters also convey the prevailing attitudes by police that allow the wealthy and famous to get away with everything from theft to murder, a very real problem on and off the page.

Roz Fox’s Detective Mary van Helsing is a cool sleuth who goes looking for the missing appetizer, “Jennifer Blue” (actor Kenya Wilson) despite legal disinterest. She is our hero. Don’t worry, this is a spoiler, but there is so much going on here, you will probably forget I told you.

In “Slave” we see too often how historians are propagandists who lie to keep the empire solvent.

Remember Orwell’s Ministry of Truth in “1984”? I am reminded also of Jimi Hendrix (1970) and his demise—yes to a drug overdose. . . Fuquan Johnson (2021), Shock G (2021), Juice WRLD (2020), Billie Holiday (1959), Whitney Houston (2012), The Artist Formerly Known as Prince (2006), Michael Jackson (2009).

Since it is Ishmael Reed, we can actually have a happy ending.

The late bell hooks wrote in “Outlaw Culture: ‘Altars of Sacrifice: “Re-membering Basquiat’,” that the young, yet masterful artist “journeyed into the heart of whiteness.

White territory he named as a savage and brutal place. The journey is embarked upon with no certainty of return. Nor is there any way to know what you will find or who you will be at journey’s end. . . . Basquiat understood that he was risking his life—that this journey was all about sacrifice [. . .]” (36). this and his refusal to allow the dominant culture to tell our story, the 99%, the percentage who matter.

How difficult it must have been for the artist to have his say as he dangled from a purveyor’s noose. Herein lies Black genius. Herein lies the tragedy. Ishmael Reed’s ability to cultivate success for the past 60 or so years stems from his artistic eReed’s research is impeccable—I lose track of some of the names, like the artist who boycotts with other Black artists a museum that sets out to exploit them.

Reed is certainly prescient as is the Theater for The New City’s Artistic Director Crystal Field. As confederate monuments are toppled throughout the nation and reparations are a very real possibility, “The Slave Who Loved Caviar” certainly sets a precedent. “Slave” is a challenge and a wakeup call to those who have not been paying attention to the right thing. “Slave” says, change the channel. What did the Last Poets say about the Revolution?

The play is streaming through Jan. 9, 2022, at Theater for the New City. Streaming tickets are just $10+ small fee. For in person ($15.00) and virtual tickets visit https://ci.ovationtix.com/35441/production/1091241

You can learn more about Reed on my radio or podcast interview here.

We had a conversation with many members of the cast January 5, 2022 on Wanda’s Picks Radio Show podcast. Tune in (subscribe): http://tobtr.com/12046944

Oakland Post

Posts by Oakland Post

Up Next

George Washington Williams: Turning Experience into History

Don't Miss

IN MEMORIAM: John Madden, Oakland Raiders Super Bowl Winning Coach, Dies at 85

Oakland Post

Click to comment

Art

Phenomenal Woman’ Maya Angelou Monument Unveiled at San Francisco Main Library

In a joyful community celebration attended by over 200 people, including Mayor London Breed, the highly anticipated ‘Portrait of a Phenomenal Woman’ monument to Dr. Maya Angelou was unveiled at the San Francisco Main Library on Sept. 19. Oakland-based artist Lava Thomas created the 9-foot bronze and stone monument in the form of a book featuring a portrait and quotes from the celebrated author, poet, civil rights activist and former San Francisco resident.

Published

2 weeks ago

October 2, 2024

Oakland Post

Attending the unveiling of the monument to the late Dr. Maya Angelou were, from left, Dr. Gina M. Fromer, CEO Glide Foundation; San Francisco Mayor London Breed, Rosa Johnson, (Angelou’s niece); Ralph Remington, San Francisco director of Cultural Affairs; Lava Thomas, artist and creator; Denise Bradley-Tydus, former interim director of Cultural Affairs; San Francisco Poet Laureate Genny Lim, and San Francisco City Librarian Michael Lambert. Photo by Linda Parker Pennington.

By Linda Parker Pennington

Oakland-based artist Lava Thomas created the 9-foot bronze and stone monument in the form of a book featuring a portrait and quotes from the celebrated author, poet, civil rights activist and former San Francisco resident.

The work was commissioned by the San Francisco Arts Commission in response to legislation passed in 2018 by San Francisco’s Board of Supervisors, requiring at least 30% female representation in the public realm.

Attending the unveiling were Angelou’s grandson, Elliott Jones, social advocate, philanthropist, and board member of the Dr. Maya Angelou Foundation; and Rosa Johnson, Angelou’s niece and family archivist, who spoke about the historic unveiling of this first public monument portraying a Black woman in San Francisco’s history.

Oakland Post

Posts by Oakland Post

Art

Community Struggles for City of Berkeley to Honor to Commitment to Black Rep Theater

Berkeley’s Black Repertory Group (BBRG), the only Black-owned-and-operated theater in the East Bay, is pushing for the City of Berkeley to provide the financial backing for the theater that is required by local law. At issue is whether the City of Berkeley will contribute legally required funding to support Black theater, similar to what the city does for other performing arts and cultural institutions in the city or whether it will continue to promote gentrification and forced displacement through longtime practices that undermine this historic venue. Founded in 1964, the theater is located at 3201 Adeline St. in Berkeley, a cultural arts center that houses the Birel L. Vaughn Theater.

Published

2 months ago

August 6, 2024

Oakland Post

Summer youth theater camp 2022 at Berkeley Black Repertory Theater. Photo by Pamela Spikes.

Special to the Berkeley Post

At issue is whether the City of Berkeley will contribute legally required funding to support Black theater, similar to what the city does for other performing arts and cultural institutions in the city or whether it will continue to promote gentrification and forced displacement through longtime practices that undermine this historic venue.

Founded in 1964, the theater is located at 3201 Adeline St. in Berkeley, a cultural arts center that houses the Birel L. Vaughn Theater.

“We not asking for handouts. The city should just pay what it legally owes us and also stop using city officials to harass us,” said a member of the board of the Black Rep.

Former Councilmember Cheryl Davila forcefully argues that Berkeley officials are undermining the theater as part of the city’s continued gentrification and ongoing elimination of local institutions and neighborhoods of African Americans and other People of Color.

“The City of Berkeley has continued the colonization as reflected in disparities documented in the Health Status Report, the Center for Police Equity (CPE) Report and Mason Tillman Report,” Davila said.

“The Tillman report revealed bids are awarded to white men only,” she continued. “The CPE report demonstrated the bias in policing and the Health Status Report, health disparities due to racism. The (city) has not fairly distributed funding or support for organizations that are located within the red lines.

“Redline disinvestment has been the practice in the Black, indigenous, or People of Color (BIPOC) institutions in the City of Berkeley. It’s crystal clear, the city, which has invested in Caucasian institutions, outside the red lines, providing emergency and other funding passed on the consent calendar with no opposition, nor illegal break-ins for building inspections, or harassment, unlike the Black Repertory Group,” she said.

“Now, these same redlined communities are recognized as “prime” real estate, so the fines, inspections, and eviction process began some time ago and continues to eliminate “Blacks” from our communities. The attempts to confiscate the historical institutions that were never given the full support to live and thrive in a city (that upholds) a façade of being “progressive.”

Dr. Omowale Fowles, a former Berkeley health commissioner, said: “Today, in the 21st century post-Jim Crow America, a so-called ‘progressive’ Berkeley City Council has continued to perpetuate the unfair, unjust and inequitable funding practice that drove the Black Repertory Theater out of the South!

“Berkeley has not lived up to its contractual agreements to provide an annual baseline of economic support for the BBRG, nor has the city responded, in a timely manner, if at all, to BBRG’s requests for consistent maintenance sanitation, and renovations interventions,” said Fowles.

However, the Berkeley City Council has managed to award several other theaters in Berkeley tens of thousands of dollars to enable their theaters to stay alive and thrive, specifically, the Berkeley Repertory Theater in downtown and the Shotgun Players’ Theater is South Berkeley, he said.

“Such malevolent behaviors (are what we have come to expect) from a government entity that prides itself on its quasi-liberal and progressive beliefs particularly toward the arts music heritage of Berkeley,” he said.

Lady AfiTiombe A. Kambon, a longtime Berkeleyan elder who is an oral historian and actor, traced the roots of the Black Rep to historic resistance to violent racism and the KKK.

“The Berkeley Black Repertory Group Theater (BBRG) escaped Vicksburg, Mississippi, from the Ku Klux Klan (KKK) for holding artistic storytelling events for Black people in the 1940s. The Black Rep fled from hatred and the threat of lynching to a city known to practice humanity and democracy,” she said.

“Now, the theater continues to be under attack from city officials and Neighborhood Watch organized to eliminate the Black community,” Kambon said.

The Berkeley Equity Summit Alliance urges all Citizens throughout the City of Berkeley and beyond to support the Black Repertory Group and ensure that the City of Berkeley treats all the theaters equally and equitably distributing services and funding.

For more information, reach out to tiombe47@gmail.com or Dallascowboy52@yahoo.com

@PaulCobbOakland @PostNewsGroup @NNPA_BlackPress @BlackPressUSA

Oakland Post

Posts by Oakland Post

Art

The Center for ArtEsteem Opens a New Space in West Oakland, Returning Home

After moving into different rental units for the last seven years, The Center for ArtEsteem, a Black-led, West Oakland based non-profit, has bought and renovated a permanent space at 3111 West St. On June 22, about 100 people celebrated the opening of the two-story, 1,500-square-foot space. ArtEsteem Executive Director Amana Harris likened the move to “coming home.”

Published

3 months ago

July 19, 2024

Oakland Post

Artworks hang in The Center for ArtEsteem's new space at 3111 West St. in West Oakland on June 24. Photo by Zack Haber.

By Zack Haber

After moving into different rental units for the last seven years, The Center for ArtEsteem, a Black-led, West Oakland based non-profit, has bought and renovated a permanent space at 3111 West St.

On June 22, about 100 people celebrated the opening of the two-story, 1,500-square-foot space.

ArtEsteem Executive Director Amana Harris likened the move to “coming home.”

Founded in 1989, ArtEsteem, which used to be named Attitudinal Healing Connection, opened its first brick-and-mortar space in 1992.

It was located in the bottom unit of a duplex housing the nonprofit’s founders, Aeesha and Kokomon Clottey, who are Harris’s mother and stepfather. That space was located at the corner of 33rd and West Streets.

“We know this community,” said Harris. “We have kids that have grown up in this neighborhood. After moving around, now we see the greater value of returning here and being more accessible to the community.”

Kamilah Crawford, who is an alumna of ArtEsteem and a former employee, told The Oakland Post she’s happy the nonprofit has returned.

“ArtEsteem not only provided me with art classes and employment after graduating from the University of California, Davis, it provided me with a sense of community and social justice,” she said. “Deep down, I believe what I learned played a role in me becoming a physician’s assistant and my desire to give back to my community.”

Since its founding, the nonprofit’s mission has been to “address social ills by providing opportunities for creative expression and healing to children, families, and individuals.”

ArtEsteem has done programming at over 75 schools in West Oakland and the Bay Area. Currently, it serves about 2,500 young people a year in 25 different schools and has a staff of 20 people.

Each year, the non-profit works closely with about 15 to 20 Oakland high school and middle school students through its Oakland Legacy Project. During a 30-week program each school year, ArtEsteem buses these students to its center two days a week after school to feed and educate them about art and environmental awareness and to build self-esteem.

“We don’t just do art for art’s sake,” said Harris. “We use art so young people can have a better understanding of themselves in the world.”

ArtEsteem got a lot of help to secure its new home. The Walter & Elise Haas Fund, the William and Flora Hewlett Foundation, and an anonymous donor from the San Francisco Foundation provided the largest financial donations. About 100 individuals donated $200 or more.

Artists and individuals have also helped to beautify the space and the nearby area. Students from McClymonds High School, Westlake Middle School, and Hoover Elementary School have collaborated with teams of a dozen or more artists to create four murals in the neighborhood through the Oakland Super Heroes Mural Project, which was originated by Harris, directed by David Burke, and funded by the San Francisco Foundation’s Bay Area Creative Core.

A new mural to be designed by former Oakland Legacy Project students, is in the works. The project also recently got help from Ken Houston and Beautification Council with cleaning up a mural that had been covered with graffiti.

In the building itself, one can see art everywhere.

“We want young people and their parents to feel uplifted by the beauty of the space when they come in,” said Harris. “We want to foster healing and resiliency.”

ArtEsteem is not done expanding its space. It is still fundraising and plans to build a new two-story building next door to its current space, set to open in 2027.

“Now that we own our space, we can dig our roots deeper because we won’t be uprooted,” said Harris.