Russell Ihrig (00:00):
Coming up on Art Palace.

Thérèse Migraine-George (00:02):
I think that there is also a little bit of a bias sometimes when we talk about people like Muholi who are activists and also who are black. There's this kind of assumption that maybe this should be kind of not really making that much money. Making a lot of money is kind of the privilege of white artists.

Russell Ihrig (00:38):
Welcome to Art Palace, produced by Cincinnati Art Museum. This is your host, Russell Ihrig. Here at the Art Palace, we meet cool people and then talk to them about art. This is a special bonus episode that is a live recording of the panel discussion that occurred on March 1st, 2018 after a screening of Difficult Love, a documentary about South African photographer Zanele Muholi, associate Curator of photography Nathaniel Stein moderated the discussion with Heal and Build co-director Alexander Shelton and University of Cincinnati, department of Women's Gender and Sexuality Studies, professors Ashley Courier and Thérèse Migraine-George, if you'd like to watch Difficult Love, there is a link in the show description where you can watch it for free online. I did want to warn you that the audio is far from perfect in this episode. I'm pretty sure the audience mic died during the Q and A, so some of the questions are difficult to hear, but I felt like a lot of these conversations were important and worth sharing even if they're not very polished.

Nathaniel Stein (01:45):
Okay, we are all hydrated and ready to talk. So let's get started. I'll start just by introducing our guests tonight. So in the center here we have Alexander Shelton. He's a native Cincinnatian and a parent to a six year old named Benjamin who is with us tonight in the front row. And if you are a listener of StoryCorps on N P R, you may recognize these folks and have heard some really wonderful words about their lives. At the University of Cincinnati Shelton was a student organizer and an activist involved in protests and consciousness raising following the shooting of Samuel Dubose. He's now a community organizer, a yoga facilitator, and a social entrepreneur. He advocates for the importance of positive coping strategies and mental health for young people and for yoga as a means of building community from the inside out, creating spaces for people to come together and heal. He's the co-director of Heal and Build, which is a social enterprise that uses yoga, mindfulness, and urban planning workshops to partner with community and community developers to create roadmaps for inclusive community redevelopment. Immediately. To my right, Ashley Courier is a sociologist studies lesbian, gay, bisexual, and transgender organizing in Deir, Liberia, Malawi, Namibia, and South Africa for her first book out in Africa, L G B T organizing in Namibia and South Africa, which was published in 2012. She did research with Forum for the Empowerment of Women, a black South African lesbian activist organization that Sunnel Moholy.

(03:24):
She is assistant professor, assistant, I'm sorry, associate professor. That is a very important distinction as we all know, I am not joking. Associate professor, assistant department, head and graduate program director in the Department of Women's Gender and Sexuality Studies at the University of Cincinnati. And to my far right, theres is a scholar of African and Francophone literature, French and Francophone women writers and queer studies, as well as the author of two novels. Her scholarly publications include African Women in Representation from Performance to Politics, which was published in 2008 from Francophone to World Literature in French Ethics, poetics and Politics, which was published in 2013 and a book of essays me published in 2009. She has also published various articles and chapters on francophone writers, African literature's, cultures and films and queer studies. And for the purposes of the present discussion, I'll note that I think four of these pieces work or writing were collaborations with Ashley that dealt with queer identity and experience in Africa.

(04:41):
And she is professor of romance literature and romance languages and literatures and women's gender and sexuality studies at the University of Cincinnati. So thank you all three of you for joining us here tonight. And I'm sorry as always, these are abbreviated biographies of many wonderful things everyone on this stage has done, but we would like to talk about the film also. So we will move on to that. I thought it might be good to start by, there's so much to say about that film and about Molly's work. I thought I might just start by giving you an opportunity to respond in essence and to say what is going on for you when you watch this film in relation to the work that you have done, how you might want to situate yourself in relation to the discussion that we're here to have. And really, I don't want to impose upon any of you to begin, so if anyone feels motivated, we could. Ashley, would you like to start or is that okay? Except I did impose upon you to begin.

Ashley Currier (05:39):
We have to start somewhere, right?

Nathaniel Stein (05:40):
Yes, we do.

Ashley Currier (05:42):
So I have a fairly long history with Muholi just knowing her as an activist. And so what I appreciate in the film is the emphasis on love, I think, and the politics of love here. Some of our early work, especially phases and phases, I mean it's really about featuring individuals but also lovers. But I think that there's been a transformation of our work that really shows her breadth as an activist and also an artist. So I think in the film I appreciate that emphasis more on the politics of

Nathaniel Stein (06:26):
Love here. So I'm sorry, when you say the politics of love, can you talk to us a little bit about what you mean by that?

Ashley Currier (06:34):
I mean really moving away from I think identity politics, which are intensely fraught in post apartheid South Africa. But I think really emphasizing the humanity, the love, the sexual desire, the sexual pleasure that brings people together. That's its own thinking. I mean foregrounding that I

Nathaniel Stein (06:58):
Think

Ashley Currier (06:59):
In her work is what's really important.

Nathaniel Stein (07:04):
Okay, yeah, I'm sort of fascinating onto that statement because we had some conversation, or actually I shared some thoughts before we got together tonight, and this sort of connects to something that caught my attention about the film, which was when Michael Stevenson, who's holy gallerist in South Africa, which talking about the work and sort of trying to find a sort of very humanist common way of looking at it, which is to say it's about love and it doesn't matter who's in the picture, which to me I thought, oh, I think it quite does matter who's in the picture. That's actually very, very important who's in the picture? And the fact that desire between two black women is being depicted by another black woman who is also involved in that community and in that circuit of desire. And I think to take that out of the equation is a real loss in terms of how we're thinking about the work. Okay. Thank you for getting us started there. Alexander, do you want to say anything to begin?

Alexander Shelton (08:02):
So I think what I appreciated the most is the fact that the film and the work exists because as we know, erasure is something that is rampant and the queer community and then the intersection of the black queer community. And so then as this history is slowly being retold, it's interesting because when we first go through puberty, we go through puberty with everyone else, but then we start to notice that we're different. And so maybe we have those parameters to test those boundaries and develop our identities, but often it comes much later in our lives. And so we experience a second puberty and then people experience third puberty. It depends on your layers of your identities. So then to see, photographed, to see it depicted as something joyous, even if the film is grainy all around, I really like the juxtaposition of the work in this barren desert and you or this barren area, but you have these beautiful people, black people that are unapologetic in their queerness. That representation is powerful.

Nathaniel Stein (09:26):
If you feel like you do want to speak to this, I think the question of erasure and moholy is constant attention to the idea of visibility, but also more than visibility. Just the bare naked fact that we exist I think is such an important part of the work. And it prompts me to think about how does this, or might this relate to what might be called a queer archive or a body of a visual representation of queer people and queer black people in the United States and even in Cincinnati. Do we suffer from the same vacant space where representation should be, or do we need this work also?

Alexander Shelton (10:11):
Yes, there are no black queer spaces in Cincinnati. To my knowledge. I think that I love the Freedom Center going there. I feel most affirmed at the banks, but then there is this deficit, there is this hole in history. So when I did go to see her exhibit, this was a room that it intersected my identities. And so I felt most affirmed in this room full of beautiful portraits of black queer people. So yes, the space is important because we wouldn't have to go through a second or third puberty if we all had the boundaries or had the parameters to test and push our boundaries.

Nathaniel Stein (11:05):
Yeah, I think it's a really powerful aspect of the work in that although it is clearly so tied to the social context from which it comes being South Africa, it speaks much more broadly than that also in a really important way. Thank you. Do you want to, any comments?

Thérèse Migraine-George (11:24):
Yeah, I mean, so I think I agree with what has been said. I very much appreciate the documentary from these different perspectives. And I think that one way for me, that one dimension of the documentary that I find particularly interesting I think is actually precisely the intersection between politics and aesthetics. Because especially in the west, we've kind of traditionally been separating them.

(11:57):
And in Africa, traditionally, they haven't actually been separated. If you look at traditional African art, for example, pre-colonial African art, they have actual functions they used on a sometimes daily basis. You talk about masks, for example, certain objects. And so I think to me, when we try to separate the two, especially in the context of mu Holly's work, I think it actually does create a little bit of a false dichotomy. And I'm not saying that obviously we cannot talk about the aesthetics of the politics of her work separately, but what personally I find even more productive is to see how they actually function together. Because I agree with you that her photographs are absolutely stunning. They're extremely ous. It just kind of works of art. At the same time, the kind of social and political statements that she's making are also extremely significant,

Alexander Shelton (13:05):
But

Thérèse Migraine-George (13:05):
I think it is precisely to me because they kind work together that they are also so powerful. And one topic that I've always come back to in my work is actually this question of representation. And if you think of representation, representation is a static representation, but it's also political representation. So we kind of come back to this notion, how do we represent ourselves in terms of identities, but representing one's identity also means representing oneself on some kind of social political national stage. And so I think this is really something that to me, I feel pretty passionate about in terms of looking at these kinds of artistic political production.

Nathaniel Stein (14:02):
I wonder if some of what you're saying might not help us pull apart the term visual activist, which is the way that Molly refers to herself as opposed to an artist. It's a very conscious decision, I think, to use the term visual activist versus artist, there are a lot of questions that come out of that. One of them is one is a visual activist versus an artist. And then I think that opens onto a whole nother body of thinking about what is the relationship between Maha's practice on an aesthetic level, on a political level, on a personal level, but also on a commercial level, which is part of the picture. Does anybody want to make a comment or take a crack on that? What is a visual activist versus an artist?

Thérèse Migraine-George (14:53):
I think that there is a very long tradition of optimism. We could call it like that. And just today we had to unfortunately make it to her talk, but we had someone in FNA Rodriguez who is an artivist and someone who also very much combines combined to the two. So I mean, I think that we've sometimes come to, again, think of art as something that happens in a gallery or in a museum, but there is such a long tradition I think, of street art, political art, and as far as the commercial aspect of Al's work is concerned.

(15:36):
I was actually asking Ashley when the documentary came out and you said, I think 2010, she's come a very long way since then. She's now, I would say world famous. She's being exhibited all around the world. She's selling her photographs for, as you know, because you're acquired. One of her works for a lot of money. And I personally have absolutely no problem with that. I mean, I think that there is also a little bit of a bias sometimes when we talk about people like Miho who are activists and also who are black. There's this kind of assumption that maybe this should be not really making that much money, that making a lot of money is the privilege of white artists. And I personally feel like she deserves every single penny. And chances are she's probably also, I'm sure investing the money fairly well back into her community.

(16:37):
And even if she is treating herself to expensive spa treatments, I have no problem with that either, because I think that, again, we tend to mean, one of my fields of research is African literature, and sometimes when with my students, we've talked about that, that we read a novel by an African writer and we expect it to be be about politics and society. And oftentimes it is. But it doesn't have to be. I mean, aesthetics is not a realm that's reserved for white Western artists or writers. Again, I personally have no qualms in terms of, I mean, I think if she completely deserves all the success and the money that she's been making,

Alexander Shelton (17:33):
Nina Simone said that you can't call yourself an artist and not reflect the times. And so I think that with any good art, it does stir you. I am sorry because I don't like impressionist paintings because people have the privilege to go out in the countryside and paint what is there. And often it is on the oppressed to tell a story in any medium that we can get our hands on. It's not every time we show up and make something creative. I think that there's this consciousness that we have to do something to push the community forward. And with the work, it hits all of those points. And I think that for me, I am somebody that is really conscious of media and how the image can be used against you or to liberate you. And throughout the Black Lives Matter movement, our images are constantly used against us.

(18:50):
Our words are constantly twisted against us. But then there are these artists, there are these creatives. There are these forward thinking political thinkers that they push back, they continuously push back. I remember asking Patricia Hill Collins, this black feminist theorist, one of the forefront, and she was talking about black feminism in the seventies, and I'm just like, how did you do this? And she said, I had to ignore or filter out anybody that wasn't focused on my vision because I had something to do. We have a job to do. And so I very much see that sense of urgency and liberation when I look into the eyes of the artist,

Nathaniel Stein (19:49):
Someone as a poet. I wonder, Alexander, since your work with yoga and your community work around yoga, I has to do with making a connection between the body and the physical and the mind and how the mind operates in life and society. I wonder what your thoughts are on Mahoney's work in that regard, because I am always struck by the degree to which portraiture both her as activity as the photographer of a portrait, and also the making of the portrait for the person who is being photographed is a physical activity. And there are many instances in this film. I think if you look across the work, you'd see this a lot of times. But there were particular instances in the film where it's clear or it seems evident that there is some kind of healing going on through the process of making the photograph and being in the photograph. And I wonder whether that struck you at all and how you can sort of connect that to what you do maybe.

Alexander Shelton (20:54):
So as we said, representation matters. And so particularly I go into black communities and I go into non-traditional spaces and I invite people that have been historically denied access to healing spaces that same access. And within that, these classes are predominantly black. And this is important because there's this gaze that happens when you're against a white backdrop. There's this one piece of art that says, I feel most colored when I'm thrown against a white backdrop. To be able to take yourself out of the white gaze, to be able to be in fellowship with a community that is trying to figure out how to start a revolution from the inside out, I think that it is poignant at some point. Moholy talks about negotiating and navigating spaces, and I think that yoga in some ways, and we all do that, but yoga helps us to do that more intentionally. What are the costs of moving in one direction? What are the benefits? What do I need to do in this moment to even get through this moment? And sometimes in a pose it's, you don't have to do this. You don't have to do this pose. This isn't for your body if it doesn't feel right. And so then what the artist is trying to pull out is that authenticity. And I think what yoga also tries to get to is that organic, that natural, that same authenticity.

Nathaniel Stein (22:52):
Do you think that that is something that, I know this is a thorny territory, but do you think that that sense of authenticity in the body exists somehow outside of representation? Or is that a kind of representation of yourself through your body? Is it before representation?

Alexander Shelton (23:12):
So basically it's like either you can be this archetype and there's this road that no one else has ever embarked upon, and that can become really discouraging. Or you could see that there's a long history of people doing this work, and that becomes more affirming. So I think that being representation matters, but at the same time, the work has to continue just as queer people have always existed, just as black people have always existed. Even if your voice or story isn't being told, you still have to live your life.

Nathaniel Stein (23:57):
I wonder if it might be a good time to tackle a question, which is one that I am always kind of obsessing over in my own work. And that is, do you think that what Mahoney's work does would be possible if she were not a member of the community that she is photographing?

Ashley Currier (24:19):
No.

Nathaniel Stein (24:21):
Can you expand on

Ashley Currier (24:21):
That? Yeah, I can tell you why. Because it took me three months to be able to do work with Forum for the Empowerment of Women. For quite a while, Hawley's background, she started working for Behind The Mask, the organization that's featured later in the film, the editor. It was a website that existed for about 12 years in it documented L G B T I organizing on the African continent more broadly. They lost funding. The website went defunct. So she split off from that organization with her then partner, who is a Jamaican woman who had a long history of anti homophobic activism there. And they founded, formed for the Empowerment of Women in the early two thousands, they started documenting anti-lesbian rape and violence, which Holy is one of the activists who coined the, it's a problematic term, corrective rape, which has been criticized by feminists in South Africa and elsewhere.

(25:28):
But when this phenomenon began getting circulated outside South Africa, there were US Western European journalists coming into South Africa wanting to collect this narratives of broken lesbian women. That's what they wanted. Those are the visuals that they wanted. And so I mean, the organization put very strict parameters then on who could have access to the organization, who could have access to these stories and wanting to control again, these stories that circulated. So it's actually a little dismaying in this film for me to see Millicent Geca and on portrayed, she actually became the public face of a campaign against corrective rape that a Cape black lesbian activist organization called Mounted. And again, those images of Geico's face. And then I appreciated the whole restorative portraits of Geca after the fact. But still, the film is bridging this problem of representing violence in a very particular way. I mean, violence is an undercurrent here.

(26:55):
I mean, that's Origins as an activist and combating, right, specifically anti lesbian violence. But again, to answer your question, I don't think she could do this work if she weren't a member of the community.

(27:10):
But are you saying that because of her access to the community and the trust that it's our access?

(27:18):
I mean, one of the things, so you asked how is she a visual activist? One of the things that she started doing when she was at Forum for the Empowerment of Women was offering photography courses. It's again, teaching people a usable skill, right on the one hand. But then it's also arming women with cameras in townships, right?

(27:41):
So if you see somebody with a camera in the township, this is somebody who could document you doing things. I mean, it's putting them on notice. We are capturing your reality as well. So in that regard, I think it's a whole, yeah, I don't think she could get this intimacy and the trust.

Thérèse Migraine-George (28:05):
And if I may also add on to what Ashley says, I think that what's really amazing and striking about her work is the fact that it is infused with this sense of intimacy. I mean, she's not just document, she's not just documenting these lives. They also have, I mean, the portraits, I think there's something that very much comes out of these pictures in terms of the connections that she has with these people. But again, I think that there is this kind of intimate, I don't know what to call it, but this kind of intimate depth maybe that's very much part of her work. And I think that is why also her work is so powerful because it has not just this kind of documentary testimonial purpose, but it is again, very kind of, it's completely shaped and informed by the love also that she has for these people and by the love that she knows exists between these people.

(29:03):
So I think that from an aesthetic viewpoint, I think that these inside knowledge and personal kind of connection that she has with these people is a inherent part of, I mean, I think I'm not an expert in any way, but to me in many ways, I mean to use a little bit of maybe old fashioned type kind of radiance, the aura of her work comes from, it's this profound humanity that she experiences with these people. It's not just about them. I think she really kind of does the pictures with them. And as she says, she doesn't like to use the word subject

Alexander Shelton (29:50):
Also

Thérèse Migraine-George (29:50):
Because she word with many connotations,

Nathaniel Stein (29:54):
It

Thérèse Migraine-George (29:54):
Doesn't really, doesn't accurately represent also not just the fact that these people are agents, but also the fact that she has an actual relationship with some of these people.

Nathaniel Stein (30:05):
I think many photographers who work in that sort of space or vein use words like elaborator are participants. Participants is I think a common one. I think the reason why I ask this question, there are many reasons, but one of them is that I think that throughout the history of photography, it's been this sort of dream and goal that photography as a medium has this power to foment some kind of authentic and true understanding across boundaries of difference and power. I think it's taken many different shapes over the history of the medium and many different forms in terms of photographic practices. But I think it's probably an open question as to how successful that is when it's practiced in different ways. And I would say personally, I notice in recent times there does seem to be the shift towards representation, essentially self-representation, either giving members of one's own community, the power to self represent or making representations where the subject matter in quotations, the participants, it is one's own community.

(31:18):
I've noted that to be a kind of shift in the way that, I suppose you can say a form of documentary photography is being conducted now. And I think you can see that from practitioners that I think would define themselves as activists, period. They don't have necessarily a desire to define themselves as artists or to function within an art world, but you can also see it among people who definitely define themselves as artists and are finding ways to do their creative work by going to a community and giving the people their cameras and working with those people to shape the imagery that comes out of that type of work, which I think is a very interesting conversation across the levels of photographic practice. I think it might be a good idea to open it up to our audience and our other fellow listeners and see if anyone wants to make a contribution or ask a question. I think we have one. So we are recording this conversation. I should let you know for our palace, the Cincinnati Art Museum podcast, so please know that you're being recorded as you speak.

Speaker 6 (32:28):
So thank you all for your insights on this film. My question is most pursuant to Professor Mic Josh's observation, but I think all of you have something to say about it. So I was struck by the credits at the end actually, when it turned out that Mama Life was one of the directors of this film because the aesthetics and the politics of the film are somatically different from the aesthetics and politics of photographs,

(32:56):
That the photographs are in this humanist modernist mode and focused on love. And the documentary is following all the conventions of realist documentary and focusing on that violence that Dr. Er was talking about, the physical violence, the images of violence, the verbal violence, right? It's not Adam Eve, it's Adam, Steve. This is not America. That gets said here too, this is not African, right? The levels of violence, the family violence, the violence of apartheid, right? That old couple, how nice we were to our slaves. I know that was, so I was wondering whether any of you had sort of an explanation or a reaction or just what is that, that there is such a radical difference in the aesthetics and the politics of the film versus what these images do?

Thérèse Migraine-George (33:59):
I think that there might be a question of audience, too. I think that it seems to me that the documentary was made with a kind of audience that was assumed to be not exactly an ignorant audience, but an audience that obviously did not necessarily know a lot about what is going on in South Africa. I think the documentary has very much of a kind of educational pedagogic also function, which is to really kind of educate, uninformed, maybe western audiences about what goes on in South Africa. I'm not saying that the documentary doesn't have any value in South Africa itself. Obviously I think that the audience for the documentary might have been different from the one that Miho used assumed for her pictures. The other thing is that what I found so interesting about Mi Holly's work is precisely the fact that it is a very kind of shifting multifaceted fluid kind of. She's very much also interested, as you said, in self-representation. And if you've seen her pictures, the documentary doesn't really show a lot of herself portraits, but well, it shows the one where she's dressed, for example, as with the white maid. But she presents herself in so many different ways, so many different kind of clothes and

(35:37):
Poses and personas. And so to me, I would probably also be maybe in a way resistant to homogenizing her work. I mean, I think she's someone who is interested in realism to a certain extent. I think she's also interested in Serialism in a way. She's interested in poetry and politics. And I think that the documentary might also represent one genre among many of the genres that she's kind of tapped into. She's got another short film, I can't remember the name of it. It's a shorter film. I think it's like 15 or 20 minutes. I could find the information if you were interested, but I don't know that it has that realist baggage that you identify. But I don't know what precipitated the shorter film, but I would interpret this particular film as at a point in her career where she was, let me explain my body of work to more of an international audience. And it's also a way to gain a foothold within, again, a wider audience in 2010.

Alexander Shelton (36:46):
And I also think that portraits give a snapshot into someone's reality. And so then being able to, if you actually leave the camera on record, you get to see more of an experience. And so often photographs can be beautiful. There is that, it reminds me of the Hobby Lobby challenge. There are these people that are going to the flower section of a craft store and they're creating these beautiful backdrops. But then if you go to the next, if you actually put the context out, it's in Hobby Lobby. And so then yes, the portraits are beautiful, but these are the narratives that are attached to the pictures.

Nathaniel Stein (37:39):
Do you have any other questions?

Speaker 7 (37:42):
Well, first of all, I'd be kind of interested in your response to her question as a photo curator, as one of the poor people up there who could deal with that question. And I also just wanted to say that despite the structure of the film as a kind of traditional almost P b s documentary, it still worked. It worked for me. I learned some things and had some entry into some things that I wouldn't have had had I not seen it. So thank you very much for showing Love to see the short one, which presumably she crafted herself more.

(38:31):
And then just one observation, which is that topography is a medium that has to deal with how light reflects off surfaces, how it functions. And so I find myself thinking a lot about a theme that came from many people speaking that has to do with outside and inside. It has to do with exterior and interior. And many of her pictures, especially the ones that might be called wounds, skin, is really important, both as sensuous target if you like, but also metaphorically wrong, things like that. When one person talks about outside, I look like this, but there's this man living in here or something, which also struck me as a little problematic, but that's how she expressed it. Anyway, I just wanted to talk about outside, inside exterior interior service.

Nathaniel Stein (39:41):
Well, I think in response to your first question, I think I pretty much share what I understood you to be saying, which is that I understand this documentary to be speaking in a visual language that's related to informing and less intended to be understood as an artwork in a fine art way. And I think that that serves the intended purpose of the film, essentially. I mean, I also felt that there were moments when I said, oh, please don't zoom in on eyes when someone is crying. Sort of that kind of moment. But I think as you pointed out, bill, the communication ultimately is successful, and that's the function of the visual language. I just make a comment in relation to your second point about skin. I certainly think that's extremely important in Maha's work. And I think just to bring the conversation back to the photograph that is on display upstairs in Gallery two 12, as I am the photo curator here, I think in that series, der Darlen, she is extremely definitely and carefully in control of the way skin appears in those photographs.

(40:59):
And when you look at that photograph, there is a effort for reasons which are too complex to explain. I've actually seen digital files of that image in other states before the final state. And there is a definite effort in the way, a conscious effort into the way that the photograph is finally printed, that her skin is dark, very, very dark, almost black. And I think that that is part of the way that light plays off her body in that photograph part of what the series is about, which is to engage and interrogate and turn inside out a long history of representing black skin and photography. And I think that she is forcing that issue to the front where we as viewers are invited to engage in that kind of dilatation of how beautiful that is. But in the process, we're being forced to ask questions about what is the history of that and why do I find that beautiful? Where am I implicated in that history? And I think that's absolutely part of what she's trying to do with that work. So since that is an invitation to go look at the photograph that is in two 12, and we still have time to do that, let's, I think wrap it up there. And I'd like to say thank you very much to all of our guests and thank you all for being here.

Russell Ihrig (42:36):
Thank you for listening to Art Palace. We hope you'll be inspired to come visit the Cincinnati Art Museum and have conversations about the art yourself. General admission to the museum is always free, and we also offer free parking special exhibitions on view right now are William KenRidge, more Sweetly Play The Dance, Ragnar Kisen, the Visitors and Scenes from Western culture. And opening April 20th is Terracotta Army legacy of the first Emperor of China. For program reservations in more information, visit cincinnati art museum.org. You can follow the museum on Facebook, Twitter, Instagram, Snapchat, and even join our Art Palace Facebook group. Our theme song is Al by Balal, and as always, please rate and review us on iTunes. I'm Russell Eig, and this has been Art Palace produced by the Cincinnati Art Museum.