Looking Back at Forum One. Forum Two this Saturday! by Kyrae Cowan

A condensed, transcribed clip from Forum One:


Active Prompt: “PASSERBY”

Seat Five:

“[ . . . ] observing a single man whom isn't totally a threat, and I’m imagining that like .05 seconds when first you catch eye contact with someone and you kind of lose the sense of oh thats a nice person and you go into threat level assessment for a second and we’re like shit; is he gonna stab me, gonna smile at me, are we just going to walk past each other or you fake like we don't see each other? You know that weird—It seems like a long time, but its super short and then it goes away; and then you do it again, and you do it again.  You continue to do this through out the entire day as your walking past people. You continually do this random threat level assessment for no apparent reason, maybe its a primal thing [ . . . ]

Seat Seven:

So when I sometimes pause in my day and I look at someone, I try to think of someone as a source of their dreams, so I think not so much whats that person’s story [ . . . ] 

Wow, I wonder what their dreams are, what their plans are? I wonder if there is a reality in which we introduce ourselves — instead of saying ‘this is how old I am,’ ‘this is where I live or this is my profession;’ 

I wonder what it would be like if we said so what do you dream of…

Kyrae's early take away:

In this first experiment, I was blown away by the imagery delivered and stories shared just by response to a single word prompt.  Each individual found themselves in a place where they could only deliver their genuine account, or sometimes, unable to offer anything without genuinely identifying a point to make.

About Seat Five:

How normalized is our perceptions of our neighbors as conflicted, suspicious and cynical? This is before the given circumstances which present our assumed and expected differences whether it be gender, race, ethnicity, size, style, etc.

About Seat Six:

How do we justify an interaction with our convenient neighbor?  What are your dreams is such a positive jumpstart into recognizing who this fellow may be and already generous in granting perspective and a readiness for compassion in the proceeding interaction. 

BE where you can:

I am proud about our fellow citizens marching this Saturday March 24th, for the overwhelmingly, innumerable, unattended issues about guns in the United States.

This dynamic circle essential to this next forum will only support new habits about taking time, to speak individual truths with one another, cultivating creativity in communal cooperation, recognizing due respects in our many particular identities in feminine power, and exclaiming our awareness about our human rights, responsibility, and belonging within nature. 

Wherever you find yourself this Saturday, be it with us, or marching, be proud to discuss and share peace with your community!                                                          


Getting Closer to Production! by Kyrae Cowan


Forum 2

By experimental, participatory discussion Kyrae Cowan’s forums are indeed hosted in anticipation of his next video production, but also an energetic stage in its own to encourage an increased accountability between artists, peers, community and all viewers alike or not when the work is social commentary.

This second forum is focused on the women’s aspect in the upcoming video, “White Pour, S/S 18.” Along with the production team and artist director Kyrae, attendees will apply the formal and conceptual elements as inspiration to orchestrate conversation that may weave into womanism, various feminisms as eco-feminism, screen politics regard to womanhood and black skin and the potential parallel of contemporary engagement with nature and the environment for social exemplar.

Coming Soon Spring/Summer 2018 by Kyrae Cowan

Forum 1

Video insight, Duende District bookstore @ BloomBars, come join the discussion with a romanticist enthusiasm, Friday February 16th, 6-7:30p, there is a chair waiting for you. 

<<<Click through to zoom into the gracious BloomBars Facebook!

Duende District's PoC staff curating books, events and programs by a majority of PoC authors and illustrators for all communities of color, such as Columbia Heights-Mt. Pleasant  is at BloomBars now!


FINAL CASTING is HERE!! by Kyrae Cowan

The scene, along a tributary of the Anacostia River...

A single man will be challenged to harness a great humility, actually bearing a great task seemingly of his own assumption, in the distant background. To subvert the importance of this man's role, casting black woman to lead and represent an impressive, cooperative, functional, intricate, poise community of dramatic individuals in the foreground.

The intricacies of inspirations and hopeful translations will be tried and further developed in a short series of forums, presentations and workshops in the few months preceding the realization of the video this late spring of 2018. 

The duration of this video, always in a single shot, is projected to be 10-15 minutes.

2 positions remaining to complete the composition.

For this video, apart from exclusivity or supporting our nations color fetish, I seek women of black identity, with said diversity, in regard to my original communities.

Videos are in full nudity 

EMAIL kyartcow@gmail.com to schedule our call! 

Available for consultation Monday, January 15th-  Thursday, January 18th 8a-8p

Casting will be complete by COB Thursday

Please extend the opportunity to a fellow who may be interested

This built team will carryout my 12th video and it would be an honor to have you join.

Compensation transparency is available.


Katherine Bradford on Bathers by Kyrae Cowan

A fair transcription from the second segment of Modern Art Notes Podcast (my faves) Episode No. 314 with An-My Lê and Katherine Bradford perspectively.

I was excited to do this transcription this weekend because the composition in the video I'm currently writing for also includes women juxtaposed waterside a particular landscape, though I assigned the landscape to suffice a space their positions would require. It is indeed inferred, in painting canon, that these women may be bathers, but on the contrary..

Katherine Bradford: I don’t use the word bather because that seems like another century, the idea of people bathing— at beaches, I don't think we do that. 

Tyler Green: I mean, thats, thats an interesting and grounding point and the bathers tradition is particularly of French Art History right through Matisse, and Picasso and probably later. —And in recent years it has been Photographers, such as Rineke Dykstra or Richard Misrach who have picked it up most— were you interested in the bather tradition or did it work its way in the paintings more as swimmers as one may see off of the new York Coast?

KB: I think the second one, I think—the bather tradition irritates me a little bit because those French painters that you mentioned, many of them had nude women— they’d do a beautiful seaside scene and then the nude women would be added; they'd be kind of cavorting and I saw that as using the female as kind of a symbol of natural mother nature, the — you know, again, taking the woman’s body and using it for the male gaze and as a woman making “swimmer paintings” I feel like I am in the water with my figures; I’m not looking at them, its my experience being a swimmer is what I am talking about.

TG: whats, you know, one of the things that are interesting about that in terms of your thinking of yourself as being there with them is that when we are in water and we see other things in water, like bodies, the edges are soft, the figures become indistinct, and — not quite lumpen, but you lose the ability— because of the way light moves through water you lose that ability to see a clearly defined figured and the thing becomes more visually rounded, and your swimmers are all visually rounded. You know, your not painting true to anatomy. 

KB: I like that phrase, visually rounded, sometimes I say economical.

by Kyrae Cowan

Originally exhibited in the "Salon of 1864", Paris, no. 1282, Edouard Manet's "Dead Toreador," now of the Widener collection of the National Gallery of Art in Washington D.C is here fetishized as it illustrates a defeated man.  The toreador, in tradition, taunting a bull (an animal of nature subjected to human entertainment) by means of, usually his, glorified grace and agility has died after his name Matador de Toros (Killer of Bulls).   


This is simply the first painting offered from my cache of notable work reminiscent of themes in the video to come.  Stay tuned, it'll be fun!