MB: Sometimes. But it only goes so far. This administration tells people of color and immigrants that over and over and over again. We have to make it for ourselves.
RK: The image of the body camera reads as such an ambivalent symbol—powerful, like an ancient totem as you rendered it in the print, but also almost ominous. MB: I wanted to leave in that ambivalence. MB: These men and women have done their time. But they have this indelible mark. They are so marginalized when they go into the system and when they come out.
There is still not much help, even after all these years of mass incarceration. I have a friend who went to prison for only four months. He was at Rikers. And to be sustainable, you need a job. If you have a job, you can find a place to live. People also need mental health support because you have to have help after being in that kind of system.
I find that working with foster youth as well. Those are the big tenets: a job, a place to live and mental health all go hand in hand. RK: There seems to be some movement toward changing sentencing laws for drug-related offenses. Do you have any sense that the political fulcrum is tipping?
We have officially acknowledged that this is an epidemic problem, even on the political right. AG: I think it is changing. And some of the people that you would least expect to be interested in talking about it are interested in what prisoners have to go through. MB: Bryan and other great people have done a lot of work around this, and the films that have come out recently—it is part of the national conversation now.
But we have to work to keep it in the conversation. Photo: Agata Gravante. RK: I wanted to ask you both about the institutional art world. There have been recent upheavals over museum support by the Sackler family, because of the role it played in the opioid crisis, and the Met and the Guggenheim have said they are no longer accepting donations from the family. I think the trouble is that what it takes to buy yourself onto a board is a lot different than it was a few years ago. I mean, it could be 10 million dollars now. It used to be much less in some cases, around , , thousand dollars.
The kind of wealth that becomes necessary changes the nature of boards and makes them less diverse. MB: You just have to bring people onto boards for more than monetary reasons.
You have to bring people from different areas—from activism, from art, from public planning. RK: Who can change that? Can artists like you help change that conversation? In your city, MOCA has had artists on the board for years. MB: I think all of us are going to change it.
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MB: It has to. The conversation about art and what gets seen and who sees it involves all of us. So we all need a place at the table.
Inside his Los Angeles studio, Mark Bradford talks mythology, the civil rights movement and the urban jungle in his Excerpt from Ursula: Issue 4 17 Sep Agnes Gund, the pioneering collector and former president of the Museum of Modern Art, has devoted her life to a form of activist arts philanthropy that stands as a paradigm not only for her generation but also for those to come. To address the near-elimination of arts education in public schools during the New York City fiscal crisis in , she used her resources to begin Studio in a School, a nonprofit that sends professional artists into schools and community organizations to lead classes and assist teachers; to date the organization has reached more than , students with its programs.
For that and other efforts, she received the National Medal of Arts, the highest award given to artists and art patrons by the United States government. AG: What have you been surprised by? AG: You do have to have a clear idea that you can unite people around. AG: Was that something that happened to you a lot? MB: It just works. I feel the same. RK: Meaning Trump? AG: How do you erase something like the Trump phenomenon? MB: Yes, they have. The Batmobile is gripped by vegetation and Firestorm has to free Batman from the vehicle.
As Batman goes off to use his formula, Firestorm transforms the Batmobile into a giant hedge trimmer and flys it through the vegetation to shred it. As Poison Ivy plans her wedding arrangements, Superman appears and moves to take her captive, but Swamp Thing springs up from the undergrowth to grip Superman. There follows an extensive fight between the two but Superman is subdued.
Batman enters but is caught in the plants and drops the formula. Finally, when Firestorm appears in the customised Batmobile, a tussle with Swamp Thing causes the formula to fly into the air where Superman hits it with heat vision so that the contents empty over Poison Ivy.
With her ability to control plants blocked, Swamp Thing is released from her direction and Gotham City gradually returns to normal. Byrne - Firestorm. Kevin Conroy - Batman. Mark Hamill - Swamp Thing. Natasha Leggero - Poison Ivy. Jason J. Lewis - Superman.
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