>> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE, AT COLUMBUSMAKESART.

COM.

FROM THESE CONTRIBUTING SPONSORS, AND VIEWERS LIKE YOU.

THANK YOU.

> >> THIS TIME ON "BROAD & HIGH", WE MEET TWO ARTISTS THAT ARE CURATORS.

WE TAKE A BEHIND THE SCENE LOOK AT HOW AN ART EXHIBIT COMES TOGETHER, AND HEAR THE SOULFUL SOUNDS OF A SENSATIONAL BAND THAT IS A PICTURE OF BLUES, FUNK, AND ROCK.

AT THIS AND MORE, RIGHT NOW ON "BROAD & HIGH".

> >> WELCOME TO "BROAD & HIGH", I AM YOUR HOST, KATE QUICKEL WE SHOWCASE THE FIRST STORY IN A SERIES CALLED BEHIND-THE-SCENES, ART ACROSS OHIO.

WE HIGHLIGHT TWO LOCAL ARTIST, THAT CARRIED IT MULTIPLE EXHIBITS IN CENTRAL OHIO.

AND WE LEARN THAT THE APPROACH TO CURATING EXHIBITS CAN BE AS VARIED AS THE ARTISTS THEMSELVES.

TO MAKE OUR EXHIBITIONS ARE DIFFERENT FOR EACH ONE.

THERE DEFINITELY IS A LOT OF WORK.

EVERY SHOW THAT I HAVE WORKED ON, THERE HAS AT LEAST BEEN WORK, AT LEAST NINE MONTHS IN ADVANCE TO GET IT TO WHERE IT IS AT.

>> WHEN YOU PUT TOGETHER A BIG EVENT, THERE WILL ALWAYS BE A TEAM.

WE HAD TO WORK COLLABORATIVELY.

EVEN WHEN YOU THINK ABOUT WHATEVER HAPPENS BEFORE THIS EXHIBITION, THE ARTISTS WORK WITH DIFFERENT PEOPLE JUST TO GET TO THIS POINT.

YET THE INSTALL TEAM, OR INSTALLING THE EXHIBITIONS, THERE ARE NIGHT, YOU MIGHT BE HERE UNTIL 2:00 IN THE MORNING.

IT IS ALL FOR THE ENJOYMENT OF LIFE.

I AM TRADITIONALLY A POET.

A LOT OF ME TRANSITIONING INTO THE EXHIBITION WORK HAS BEEN ABOUT TRYING TO FIGURE OUT HOW I WILL ENGAGE PEOPLE THROUGH PHYSICAL INSTALLATIONS OF MY WORK.

I REALLY STRUGGLED TRYING TO THINK VISUALLY AT FIRST.

WHEN I WAS PREPPING FOR THE EXHIBITION THAT I HAVE COMING UP, NOBODY TEACHES US HOW TO BE DAUGHTERS, I WROTE INTO IT.

I WROTE ALL OF THE DIFFERENT PIECES.

I WROTE THE POEMS.

I WAS LIKE, HOW DOES THIS SHOW UP PHYSICALLY?

SOME SHOW UP WITHOUT LANGUAGE.

HOW DOES IT SHOW UP AS UGLY IN THE SPACE?

HOW WOULD SOMEBODY ENGAGE WITH THIS?

HOW DOES THIS MAKE SOMEBODY FLAT REFLECT OR PAUSE AND INSERT THEMSELVES INTO A STORY?

HOW DOES IT MAKE THEM CONCERNED WITH THE STORIES OF THEIR OWN FAMILY OR THEIR OWN IDEAS OF INHERITANCE?

>> WHEN APPROACHING THE EXHIBITION AND CURATING, WE THINK ABOUT HOW WE CAN MAKE THE EXHIBITION TO REALLY ARTICULATES WHAT THE TOPIC IS, ESPECIALLY MY CASE.

A LOT OF THE THINGS THAT I DEAL WITH IS BEING BLACK.

IT IS SUCH A COMPLEX TOPIC.

UNLESS YOU ARE PART OF THAT COMMUNITY, YOU MAY NOT UNDERSTAND.

I THINK OFTEN TIMES, WHEN IT COMES TO THE EXHIBITIONS, WE THINK ABOUT THE INHERENCE.

WHAT HAPPENS WHEN WE BRING TOGETHER ALL OF LIFE'S INSTANCES AND MAKE YOU FEEL LIKE YOU ARE PART OF THE EXHIBITION?

>> NO ONE TEACHES US HOW TO BE DAUGHTERS STARTS WITH A STORY OF A FAMILY MEMBER OF MINE THAT HAD GONE MISSING.

I WAS REALLY STUCK ON THIS IDEA OF WHAT IT MEANS TO BE MISSING, AND WHAT THAT MEANS IS A BLACK PERSON AND AS A BLACK WOMAN.

THERE ARE ALL KINDS OF DIFFERENT WAYS WE GO MISSING WITHIN OURSELVES.

JUST THE IDEA OF ONE SINGLE IDEA THAT IS SPLITTING ITSELF IN 1 MILLION DIFFERENT WAYS.

AND THEN IT HITS THE VISUAL PIECE AFTER I HAVE WRITTEN INTO IT.

>> THE TAPESTRY HERE, THIS WAS THE FIRST EXHIBITION WE HAD IN AN URBANIZED SPACE.

I WAS ABLE TO PLACE WHERE EVERYBODY WENT.

WE ARE CONSIDERING A FLOW, REGARDLESS OF ALL THE PIECES IN THE SAME SPACE.

IT WILL NOT TAKE PLACE OR MAKE SENSE.

THERE SHOULD BE A STORY.

HOW DO WE THINK OF DURATION AS STORYTELLING?

WE GO INTO THIS PROJECT.

27 ARTISTS.

WENT TO TELL THE STORY.

FROM THEIR, IT IS JUST NAVIGATING AND WORKING WITH DIFFERENT ARTISTS, AND DIFFERENT ORGANIZATIONS, AND HAVING A VISION.

WE ARE ALSO WORKING WITH OTHER PEOPLE TO HELP THEIR RELATIONSHIPS.

>> MY FAVORITE PART WAS LEARNING TO LEAD.

I LIKED THE PLANNING IN THE BEGINNING.

WITH IT BEING YOUR FIRST TIME, YOU CAN EITHER THINK TOO SMALL, OR YOU CAN THINK SOME BIG.

THERE WERE MOMENTS WHEN I WOULD CATCH MYSELF THINKING SMALL.

I WAS LIKE, WE GOT THIS TEAM IN THE INFRASTRUCTURE, LET'S THINK AS BIG AS WE CAN.

>> THE PROCESS WAS MY FAVORITE, NOT EVEN THE EVENTS.

I LIKE THE CONTINUATION OF WHAT WENT ON BEHIND THE SCENE.

THE DIFFERENCE BETWEEN COLLABORATING AND BRAINSTORMING AND RESEARCHING, AND FIGURING OUT HOW WE WANTED TO ADDRESS ISSUES IN THE COMMUNITY AND HAVE CONVERSATIONS.

THAT ALL CARRIED OVER INTO THE ACTUAL EVENTS.

>> THE EXHIBITION ITSELF WAS IMMERSIVE.

THE EVENTS THAT WE HAD WERE IMMERSIVE.

IT REALLY ALLOWED ME TO SEE, EVEN MORE THAN JUST BEYOND MY HEAD, HOW CREATING THE IMMERSIVE EXPERIENCES, IT IS VERY ENGAGING IN THAT SPACE.

>> THE OPENING PART OF THE EXHIBIT IS PULLING FROM THE VIDEOS THAT I TOOK OF MY GREAT GRANDMOTHER BEFORE SHE PASSED.

I HAD ABOUT AN HOURS WORTH OF VIDEO OF HER.

I ONLY HAVE ABOUT FOUR MINUTES AND 30 SECONDS LEFT.

I AM PULLING FROM THAT AUDIO, AND A FEW OTHER THINGS.

WE HAVE SOME PHYSICAL PIECES THAT BELONGED TO HER.

>> I WANTED TO FOCUS ON INHERITANCE AND THEN MOVE THROUGH ALL THE THINGS THAT DISRUPT IDEAS OF INHERITANCE.

I AM HOPING TO END IN THE SPACE THAT CAUSES FOLKS TO REFLECT OF THEIR OWN INHERITANCE AND THEIR OWN PLACE, THEIR OWN METAPHYSICAL LOCATIONS.

I THINK SO MUCH ABOUT THE FOLKS THAT CAME BEFORE ME.

FOR ME, THAT IS MOST SPECIFICALLY THE WOMEN.

I THINK SO MUCH ABOUT LINEAGE, AND THE VALUE OF THE STORIES OF PEOPLE THAT HAVE COME BEFORE ME.

ONE OF THE THINGS THAT I HOPE FOR IS THAT PEOPLE MIGHT HAVE A PROCESS OF REFLECTING ON THEIR OWN, AND MAYBE HAVING THEIR OWN INVESTMENT IN THE PRESERVATION, THE PRESERVATION OF STORIES, AND PEOPLE THEY MIGHT STILL HAVE ACCESS TO, AS THOSE EMBODIED ARCHIVES, ESPECIALLY BECAUSE I THINK HISTORY, AND RETELLING IS SO FICKLE.

THERE ARE SOME THINGS THAT ARE ONLY ACCESSIBLE FOR YOU.

IF THEY ARE NOT ARCHIVED AND PRESERVED, THEY WILL BE LOST.

SOME THINGS ARE PRESERVED THROUGH ORAL STORYTELLING.

THAT FEELS ESPECIALLY IMPORTANT TO ME AS A BLACK PERSON TO BE IN CHARGE OF ACTUALLY DOCUMENTING THE LINEAGE.

I HOPE THAT, REGARDLESS OF HOW FOLKS IDENTIFY, THAT THEY WILL HAVE A MORE VESTED INTEREST IN PRESERVING THE STORIES OF FOLKS AROUND THEM.

>> YOU CANNOT APPROACH EACH OTHER SAYING EVERY SHOW IS DIFFERENT AND EVERY VISION IS DIFFERENT.

THERE IS A DIFFERENT SHOWING STORY AND EACH SHALL.

WE'RE LOOKING WHERE WE LOOK AT THE EXHIBITION.

WE LOOK AT WHAT THE PURPOSE, THE VISION, AND GOING FROM THERE.

THAT HAS BEEN THE BIGGEST LESSON.

>> WE ARE LEARNING THINGS ABOUT DOING THIS WORK.

WHEN WE SEE THE IMPACT IT CAN HAVE ON THE ARTISTS IN THE SHOW, AND THE COMMUNITY THAT IS VIEWING THE SHOW, AND IN SOME CASES, LIKE WATCHING THEIR VISION COME TO LIGHT, I ENJOY HELPING AND GETTING TOGETHER.

IT ALL REFLECTS A CERTAIN EXPERIENCE IN THE CULTURE.

THE REACTIONS THAT I ENJOY THE MOST ARE CHILDREN.

I REMEMBER BEING A KID AND GOING TO ART SHOWS AND THINKING, WOW!

I WISH I COULD HAVE COME TO THE SPACE WHEN I WAS A CHILD.

THESE ARE OUR CONCERNS.

>> CHECK OUT THE LATEST EXHIBIT THAT URBAN ART SPACE.

WE HAVE HEARD FROM HER AS A CURATOR, NOW WE WILL HEAR FROM HER AS AN ARTIST.

IN THE SEGMENT, SHE TALKS ABOUT THE STORY BEHIND HER WORK IN THE EXHIBIT, NO ONE TEACHES US HOW TO BE DAUGHTERS.

[ MUSIC ] > >> I AM IONA HILL.

THIS IS A PROJECT AND A COLLECTIVE, AND ART SPACE MOTTO, WHERE WE HONOR BLACK ART AND CULTURE.

THIS IS A SPACE CALLED IMMACULATE CONCEPTION.

I HAVE BEEN LOOKING AT THE CREATIVE DIRECTION AND ARTISTIC, VISUAL, AND TRANSLATE HER WORK THROUGH ART.

SHE DECIDED, FOUR WEEKS BEFORE THE SHOW, YOU CAN HAVE THE CORNER SPACE.

IS LIKE, OKAY, YOU GOT TO GO CRAZY.

I CAME UP WITH THE CONCEPT.

I SHOT ALL THE PICTURES IN TWO DAYS.

>> I TOOK HER ORIGINAL EXHIBITION STATEMENT ABOUT MISSING DAUGHTERS AND SISTERHOOD, AND IMAGINING LIFE OF BLACK WOMEN AND GIRLS, AND CREATING AN EXHIBITION.

MY EXHIBITION IS FOR THE DAUGHTERS IN OUR FAMILY, AND THE LINEAGE OF MY MOTHER, MY GRANDMOTHER, AND THOSE BEFORE HER, AND HENRI THE LINEAGE.

>> IF I AM IN IT, BUT WORK AND EVERYTHING.

THEY DO ALL COUNT AS SELF- PORTRAITS.

THAT ONE IS LARGE-FORMAT.

WITHOUT BEING A LARGE FORMAT, IT WAS LIKE OKAY, LET ME SET THIS UP PERFECT WAY TO LET ME DO THE FOCUS.

I HAD MY COUSIN LIKE, OKAY, YET THE CLICK THIS AND PUT IT BACK.

>> TO SEE MORE OF HER WORK, FIND HER ON INSTAGRAM.

NEXT, WE LEARN MORE ABOUT THE WORK OF DAWKINS, THAT HAS GROWN FROM A TEENAGER, TELLING STORIES AT A POETRY SLAM TO THE DUCKY POET SHE IS TODAY.

WORKING IN TRADITIONAL AND NONTRADITIONAL PATHWAYS, SHE HOLDS ONE THING TRUE, YOUR STORIES MATTER.

>> I ALWAYS SAY THAT I USE MY POETRY TO ARCHIVE MY LINEAGE.

BY THAT, I MEAN, I FEEL REALLY RESPONSIBLE FOR PRESERVING MY FAMILY'S HISTORY AND THE STORIES OF WOMEN IN MY FAMILY.

I THINK ABOUT POETICS AS A SPIN ON DOCUMENTARY WORK.

I THINK YOU GET TO DO A LOT OF INTERESTING THINGS WITH POETRY.

YOU GET TO NOT LIE, BUT POETRY IS LESS ABOUT FACTS, AND MORE ABOUT WHAT THE OVERALL TRUTH IS RIGHT?

MAYBE THE ROOM WAS NOT BLUE, MAYBE THE SONG WAS PLAYING WAS NOT A SPECIFIC SONG, BUT THOSE KINDS OF DETAILS MATTER A BIT LESS.

I LIKE PLAYING WITH THE IDEA OF DOCK YOU POETICS AND ARCHIVING THE NATURAL LINEAGE.

IT LETS ME INTERPRET STORIES IN A WAY THAT HONORS WOMEN THAT CAME BEFORE ME.

I ALSO THINK THAT IS VERY INTERESTING.

I SEE PEOPLE DISRUPTING TYPICAL DOCUMENTARIES, AND TO ARCHIVE SOMETHING FOR THE HISTORICAL RECORD.

I FEEL LIKE IT IS REALLY IMPORTANT.

THERE HAS BEEN A LOT OF CONVERSATION AROUND LACK WOMEN IN THE ARCHIVES.

AND WHAT IT MEANS, AS A BLACK PERSON TO COME TO ALL OF THE TRADITIONAL ARCHIVES AND NOT SEE YOURSELF IN THEM, BECAUSE OF HISTORICAL LITERACY GAPS, AND THE WAY THAT HISTORY WAS HISTORICALLY DOCUMENTED.

I AM NOT WORKING WITH TRADITIONAL ARCHIVES, I AM WORKING WITH OLD STORYTELLING THAT HAS BEEN PASSED DOWN.

THAT IS WHAT I HAVE ACCESS TO.

FOR ME, PART OF DOCUPOETICS IS TAKING SERIOUSLY THE OTHER FORMS OF ARCHIVES.

THERE OFTEN TIMES MORE FRAGILE.

EVEN AS I MOVE THROUGH, OR I HAVE BEEN MOVING THROUGH THE INTERVIEWS, I HAVE PEOPLE WHERE I'M TRYING TO GET THEIR STORIES, AND THEY DIED ON ME.

THAT IS THE END OF THAT EMBODIED ARCHIVE.

MY ACCESS WAS ONLY PRESENT AS LONG AS THAT PERSON WAS THERE.

THEY WERE HOUSING IT IN THEIR BODIES.

THAT IS HOW I VIEW DOCUPOETICS.

I STARTED MY INTERVIEWS WITH MY GREAT-GRANDMOTHER WHEN SHE WAS IN AN ASSISTED LIVING FACILITY WHEN SHE WAS TERMINALLY ILL.

I WOULD SIT AND ASK HER QUESTIONS.

I WAS THE FIRST OF A SERIES OF INTERVIEWS THAT I DID.

START OF THE PROCESS WITH MY MOM AS WELL, I HAVE A CHAT BOOK CALLED BLOOD FLEX.

I REALIZE EVERYTHING ABOUT HER, EVERYTHING ABOUT EVERYTHING IN THE BOOK WAS FROM MY PERSPECTIVE.

I DID NOT FEEL LIKE IT WAS ETHICAL FOR ME TO SAY THAT I AM GIVING MY MOTHER A VOICE WHEN MY MOTHER HAD HER OWN VOICE AND HER OWN LANGUAGE TO TALK ABOUT AND SHARE STORIES.

THAT IS HOW I GOT UP ON THE PROCESS OF ARCHIVING.

USUALLY I DO NOT KNOW WHAT TO EXPECT.

SOMETHING THAT HAS BEEN VERY SURPRISING FOR ME HAS BEEN HOW EXCITED PEOPLE ARE TO TALK TO ME.

I GUESS, NOT JUST EXCITED, BUT WILLING.

I THINK I ALWAYS EXPECTED, MAY BE LESS EXPECTED, BUT I ALWAYS WAS VERY CAUTIOUS.

I NEVER WANT MY FAMILY TO FEEL LIKE, I AM COMING IN AND ENCROACHING, AND MAKE THIS GRAND STORY ABOUT YOU, OR DO SOMETHING THAT FEELS GROSS.

IT SEEMS NOT JUST ETHICAL, BUT VOYEURISTIC.

SEEING HOW OPEN THEY ARE TO TALKING TO ME HAS BEEN A VERY PLEASANT SURPRISE.

SEEING THE WAY THESE THINGS FAVOR THE MEMBERS, AND IT SHAPES OR SHIFTS THE STORY.

I HAVE AN OLDER COUSIN THAT I INTERVIEWED RECENTLY.

IN THE STORY HE IS TELLING, HE TALKS ABOUT MY GRANDMOTHER, BUT FROM THE PERSPECTIVE OF CHILD HE TOLD THE STORY ABOUT HOW SHE TOLD HIM THAT SHE WAS PREGNANT WITH MY MOTHER.

I NEVER THINK ABOUT MY GRANDMOTHER AS AN AUNT, OR BABY SISTER, OR IN THESE OTHER ROLES.

WHEN I WAS FIRST TRYING TO DO SOME OF THE ARCHIVAL WORK, AND I WAS WRITING, I DID NOT WANT TO WRITE.

I DID NOT WANT TO PUT MY FAMILY MEMBERS AS CHARACTERS COME ON THE PAGE, BECAUSE I THINK WHEN SOMEBODY HITS THE PAGE, THEY BECOME TWO- DIMENSIONAL, AND THERE IS NO WAY FOR SOMEBODY READING A TEXT TO KNOW ALL THE INTRICACIES OF SOMEONE.

I STARTED TO CREATE CHARACTERS THAT WERE LOOSELY BASED OFF OF DIFFERENT PEOPLE OR COMBINATIONS OF PEOPLE.

ONE OF THE CHARACTERS WAS EILEEN, BUILT OFF OF A COMBINATION OF WOMEN.

AS I AM GROUND, I THOUGHT IT WOULD BE A WOMAN FOREVER, THEN, I BECAME A MOTHER AND A GRANDMOTHER, AND PEOPLE FORGOT SOME POINT, I WAS A GIRL.

THE BODIES SEE-THROUGH ENOUGH CHILDREN, LEAK ENOUGH MILK, HAVE ENOUGH BABIES, AND PEOPLE THINK THAT IS ALL YOU HAVE EVER BEEN.

A MOTHER, A DUTIFUL WIFE, AND THEN A WIDOW, SURGICAL BLADE ACROSS THE ABDOMEN FOR THE THIRD CHILD, THE LIKE A SHARPER ONE OF MY NECK WHEN MY HUSBAND DIED.

> >> TO LEARN MORE ABOUT HER WORK, FIND HER ONLINE.

> >> AUSTIN AND THE CIVICS EXPERIENCE IS A FUNKY MUSIC GUMBO BAND THAT YOU HAVE TO EXPERIENCE.

WE WERE FORTUNATE TO HAVE THEM JOIN US IN STUDIO RECENTLY.

THE MIX OF POWERFUL VOCALS AND DYNAMIC MUSIC, BLEW US AWAY.

TAKE A LISTEN.

[ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] > >> TO HEAR MORE, CHECK THEM OUT ONLINE.

> >> THAT IS OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WWW.

WOSU.

ORG, AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I AM KATE QUICKEL.

THANK YOU FOR WATCHING.

[ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] [ MUSIC ] > >> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY COLUMBUS MAKES ART.

WILL AGAIN PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE, AT COLUMBUSMAKESART.COM.