The Pop Art tradition redefined modern art by embracing imagery from advertising, comics, and mass culture. Artists like Andy Warhol and Roy Lichtenstein used bold colors and repetition to blur the line between high art and everyday life.

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The Pop Art Tradition - Responding to Mass Culture

What can I do ?

Narrator: 
This final gallery focuses on the work that Browne painted while living and teaching in Northern California in the last decade of her life. Here's co-curator Adrienne Childs. 

Adrienne Childs: 
She was invited to come to UC Santa Cruz as a visiting professor. And so there she encounters the majestic redwoods, the majestic sequoias, the trees. So she has always been interested in landscape, but she's coming full circle back to California. And she gets really engaged and interested again in a new environment. 

Narrator: 
Her return to California marked not only a physical relocation, but a meaningful return to the place where her journey began. 
 
Adrienne Childs: 
And so she's continuing her work in abstraction that began with the Africa series, but she's also creating these really interesting juxtapositions of trees and “pylons” they call them, which are huge power lines. And what's interesting to me is the way the pylons are threatening, but there’s also kind of a dance between the trees and the power lines. 

Narrator: 
In one painting, Browne includes a quote. A gesture that ties her visual language to literary voices that she admired. 

Adrienne Childs: 
It says, “All trace is gone, the rest is weather.” And that turns out to be a quote from Toni Morrison's Beloved. And so she's integrating quotes by Black women artists or authors or poetry or quotes that were supposedly said by Native Americans. So she's thinking about particularly the Native American context of the landscape and what has happened to it. So again, it's a subtle kind of political dimension amid some extraordinarily beautiful works. 

Narrator: 
It is remarkable that throughout her life, and even in her final years, Vivian Browne always remained open to new ways of seeing and new ways of expressing herself. These paintings reflect an artist who had traveled extensively, geographically and personally, and never stopped evolving.

#904_Landscape and Ecologies

Narrator: 
This room features two series inspired by Vivian Browne's travels. The first is her Africa series. In 1971, Vivian Browne traveled to Africa for the first time. While there she visited Nigeria and Ghana. Here's co-curator Adrienne Childs. 

Adrienne Childs: 
So she goes in 1971 and it changed her whole perspective on art. When she comes back, she talks about the fact she did not sketch while she was there. She just absorbed. She just encountered the sounds, the sights, the patterns, the colors, the movement. 

Narrator: 
At the height of the Black Power and Black Arts movements, many Black artists in the US were embracing African imagery as a language to express cultural pride and political solidarity. Browne's approach was different. 

Adrienne Childs: 
If you think about the other artists who are coming back to the United States and really depicting African history and bringing it into their work, she's coming at it from a much more conceptual and abstract place. 

Narrator: 
This move towards abstraction marks a watershed moment in Browne's career. 

Adrienne Childs: 
She goes to Africa, she says, “The only way I can express how I feel is through abstraction. I couldn't say it any other way.” So she's luring you in with the notion that these are related to actual objects, but really they are all abstract expressions. And she says she loved the patterns but did not want to replicate them. We see patterns, but they're her patterns. 

Adrienne Childs: 
On the other side of this room, we find another series inspired by Vivian Browne's travels, her China series. The result of a 1977 trip where she was invited by the Chinese government, becoming the first Black woman artist to be part of such a delegation. Following this trip, Browne began experimenting with new materials. 

Adrienne Childs: 
She comes away from China with an interest in fabric and, of course, silk.  

Narrator: 
In works like Shanghai Morning she layered silk over the canvas.  

Adrienne Childs: 
And we see her painting on silk here and covering the canvas with silk. And you walk around it and it looks like a moiré fabric and it changes in the light and it almost looks like you're looking under the depths of water. 

Narrator: 
In the work titled Clear Particles Floating Free a painted silk panel hangs in front of a work on paper. 

Adrienne Childs: 
She's still experimenting, experimenting. She goes to this piece and taking the silk off of the canvas and actually separating it and hanging it in front of a work on paper behind it. That's an echo of what you see in the front. 

Narrator: 
In both of the series we find in this room, Vivian Browne demonstrated how she could take her personal experience of a time and place and distill it into her own unique abstract language.

#903_Internationalism and Abstraction

Narrator: 
This room is one of two devoted to Vivian Browne's early career and her figurative works of portraiture. Here's Vivian herself in an interview from 1968. 

Vivian Browne (1968): 
I react to people very visually—I always have. What shows on a face or in a carriage or in a stance—it's such an indication of what's inside. And people are so closed up really. And, if you can look, you know, through all of that and, get it down, I find that when I paint portraits, I can look and not even be conscious of this x-ray thing that's going on. And after a couple of hours and I stop and look at what I've done, and it becomes the most revealing thing. 

Narrator: 
On the far wall are three portraits of important women from Browne's life. On the right is her mother. In the center is her dear friend and fellow artist, Camille Billops. And on the left, a portrait of Vivian herself. Browne painted the portrait of her mother in 1961, just two years after she completed her formal MFA at Hunter College. 

The other two portraits were painted in 1965, just shortly after Vivian Brown and Camille Billops met while the two were at an artist retreat, an experience that Vivian would describe as life changing. 

Interviewer (1968): 
When did you begin to really find yourself as a person and an artist? 

Vivian Browne (1968): 
I had been working in New York as a teacher for maybe eight years, and I got a fellowship to the Huntington Hartford Foundation in California. And I went there for six months in order to paint. 

It was funny because everyone there was working very hard and trying very hard and I had been accepted to go there, but it was a very frightening thing. You know, I'd have to be, I'd have to produce, right? And I didn't know that I could do that. Well, then after being there, maybe a month, a routine set in and I worked from morning to night, and then after dinner I would go back and work some more. And this was a steady diet. 

After that, you just can't, you know, you don't let go of that too quickly. And it was a turning point. And it was there that I really realized that this is what I was. 

 

Notes:  
This audio stop contains excerpts from: Oral history interview with Vivian Browne, 1968 July 1. Archives of American Art, Smithsonian Institution.

#902_LIttle Men

Narrator: 
In addition to her celebrated artistic career, Vivian Browne was a dedicated activist throughout her life. Her fight for equality was deeply informed by her experience teaching in a segregated high school in the South, and by her travels in Europe, where she first felt a sense of freedom from the racial prejudice of the United States. In a 1968 interview, she recalled that early trip. 

Vivian Browne (1968): 
And I found that in Europe you are not a Negro, you're a person. And oh, that was just a wonderful life experience. I didn't wanna come home. 

Narrator:  
Back in New York, she became a key figure in the fight for equal representation in the city's major art institutions, often taking her protests directly to the streets. Here's co-curator Adrienne Childs. 

Adrienne Childs: 
She also did a protest where she stood outside in front of the Guggenheim and just yelled and shouted the names of Black women artists who were not represented in the Guggenheim. She's also involved with a group called the Black Emergency Cultural Coalition. And they are the ones who were really organized to make sure Black artists and women artists got into exhibitions in New York. 

Narrator: 
Yet throughout her life, Browne resisted the expectation that her art must be a vehicle of political protest. She was often asked why she wasn't creating explicitly political work during such a turbulent time. For Browne, her protest was the seemingly radical act of demanding artistic freedom. 

Adrienne Childs: 
As a woman of color, as a Black woman, the fact that you're going to dare to paint landscapes, dare to paint the toxicity of white bureaucratic men, dare to deal with abstraction, to draw on people like Francisco de Goya, to be part of this sort of dialogue with the history of art—that is a protest. That's her own kind of protest, that she is using her voice in the way she wants to. 

 

Notes:  
This audio stop contains excerpts from: Oral history interview with Vivian Browne, 1968 July 1. Archives of American Art, Smithsonian Institution.

#906_Activism and Protest

Narrator: 
In this room we are surrounded by the sketches and canvases that make up one of Vivian Browne's most provocative bodies of work. 
 
Adrienne Childs: 
We wanted to make sure that when you entered the room, you were greeted with one of her most interesting, dynamic series, the Little Men series. 

Narrator: 
That's exhibition co-curator Adrienne Childs. 

Adrienne Childs: 
It's coming out of a specific time and place. Like I said, she's at the Board of Education in New York City where she encountered bureaucratic men. I mean, you could probably, you know, and this series is a response to these “little men” that she called them. And she does about 200 sketches of different individuals in different fits of rage: they're screaming or storming and stomping. 

Narrator: 
In the following clip, in an interview from 1968, Browne explains how essential this process of sketching was. 
 
Vivian Browne (1968): 
And this isn't something that is painted at all lightly. It's something I had to dig for. I spent four months doing oil sketches on paper, just opening up. You know, Jimmy Baldwin has a saying: he says that you have to vomit first. And that's what those sketches did. I could not touch a canvas with that idea until I got through that whole business. 

Adrienne Childs: 
In terms of her being an artist who's interested in the history of art, I think she's drawing upon the artist Francisco de Goya, where he's looking at the foibles of humanity, he's looking at human behavior, and she takes on the same kind of critical look. But as a Black woman who's painting images of white men, it's a very bold and kind of unusual and assertive statement. 

Narrator: 
As Vivian Browne would discover, her statement was one that not everyone could accept. 
 

Interviewer (1968): 
You said that people are sometimes shocked. Why do you suppose that is? 
 
Vivian Browne (1968): 
Well, I think since the paintings show people often at their worst, it's hard to look at. People are afraid of the reality. But I think that, you know, looking at that, it should not invoke fear so much as introspection. And when I'm confronted by people who can't deal with it, on one hand, I'm sorry that they can't, because once you see and you feel this kind of thing… first of all, you know more about yourself and you most certainly more about the world. And you can relate to people a little better. And, and I think that as a painting that's what it should do. It should help you to do those things. 

 
Notes:  
This audio stop contains excerpts from: Oral history interview with Vivian Browne, 1968 July 1. Archives of American Art, Smithsonian Institution. 
LINK

#901_Early Figuration

Narrator: 
Welcome to Vivian Browne: My Kind of Protest, the first museum retrospective dedicated to American artist, activist, and educator Vivian Browns. This exhibition is comprised of four sections that explore distinct eras of Browne's life and career. Here, we will trace her path from realistic figuration to abstraction and back again, all while encountering the hallmarks of her style: bold juxtapositions of color, mediums, and points of view. 

Born in Laurel, Florida, in 1929, Brown soon moved to New York City, where she would spend the majority of her life. She would work as a public school teacher, an artistic supervisor to the New York Board of Education, and a professor at Rutgers University, all the while establishing herself as an important voice in New York's artistic community. 

Throughout her career, she would travel extensively through Europe, Africa, China, and Cuba, as well as frequently crisscrossing from New York to California. In each of these places, she absorbed them with all her senses and distilled them back into her works. 

In parallel with her artistic career, Browne was a prolific activist. In 1969, she helped form the Black Emergency Cultural Coalition, which advocated for equal representation in New York's art institutions. And she's famous for once standing outside the Whitney Museum with a megaphone, shouting the names of Black female artists who were notably missing from the museum's collection. 

When it came to her art, however, Vivian Browne deeply resisted being labeled as what she called an “issue oriented” painter. She instead asserted that her art was a place for her own introspection and expression, a vehicle to explore, but also to transcend the world around us. 

Vivian Browne passed away in 1993 at the age of 64. We invite you to explore her life and legacy here in Vivian Browne: My Kind of Protest.

#900_Exhibition Overview

https://www.youtube.com/watch?v=-cDYCEuc4P4
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the Kelpies

🎶 City Hunter – Silent Trigger 🎶

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[Lyric Story] (based on City Hunter):
The lyrics tell the story of a man who lives in the sleepless city — a hunter walking the line between light and shadow. Rain-slicked asphalt, distant sirens, and streets where truth and lies collide create the stage for his lonely mission. Yet his trigger is pulled not by solitude, but by the names of those he wishes to protect. In a world where justice and desire intersect, where traps are set beneath skyscrapers and smiles hide unspoken pain, he fights on. The chorus becomes his creed: to pierce through the night, to keep running despite scars, to embrace love even when burdened by tears. The City Hunter is both weapon and shield, chasing a future as a solitary guardian of the city.

Audio Impressions:
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Tagline:
🌆 “In the sleepless city where justice and desire collide, the City Hunter takes aim — love hidden behind every bullet.” 🔫

City Hunter - Silent Trigger | Fan Music - Anime Music

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