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.Net Black Professional Women Featured Articles

Cover Story - Sonequa Martin-Green /'Discovery''s star talks the season's far flung finale, grasping quantum physics, and why she loved screaming at the top of her lungs.

Message From Publisher - Melinda Dupre

The Woman Behind The Institution - Tanya Holland / Known for her inventive take on modern soul food, as well as comfort classics, Tanya Holland is the executive chef/owner of Brown Sugar Kitchen.

Music - Khalila K. Nice / The Neo-Impressionist / Writing a New Chapter with her new album. "One People One Love"

Fashion - CUSHNIE /The CUSHNIE Collection is worn by influential women including Michelle Obama, Beyoncé, Gal Gadot, Lupita Nyong’o, Ava Duvernay, Jessica Biel, Jennifer Lopez, Ashley Graham, and Padma Lakshmi, among many others.

The Arts - Julie Mehretu / is a contemporary visual artist, well known for her multi-layered paintings of abstracted landscapes on a large scale. Her paintings, drawings, and prints depict the cumulative effects of urban sociopolitical changes through the landscape's alteration of architecture, topography, and iconography.

Health - Awareness for Sept-Dec. / Help is available if made aware. We often ignore symtoms and warning signs of our body. Pay attention to them to live a long and healthy life.

Special Edition - Melinda Dupre / Share a Pumpkin Pie Recipe

Life Style -Tomecia Taylor / Healthy Delicious Drinks and Soups Sept - Dec.

Travel - Grenada / 10 things you must do in Grenada. This article was done prior to Hurricane Dorian. If you would like to donate to help those people who are now homeless and need fresh water food and shelter, click the following; ✚ THE AMERICAN RED CROSS..

New Games - / Solitaire, Free Cell, Checkers, Puzzles and more ...

How To Navigate / Please Read


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elcome to the .NET Black Professional Women Magazine 2019. We are proud to bring to you the 2019 September - December issue of Black Professional Women Magazine where we are featuring Mrs. Sonequa Martin-Green who is well know for here award winning role in the popular movie series "The Walk Dead". There is nothing dead about her acting when she takes on a commanding role as StarTrek's newest heroine "Discovery". If you want to be wowed is that's even a word then you will be. Read her exclusive interview with StarTrek.com with this talented actress.

We are also honored by Tomicia "Georgie" Taylor who really have the insite of eating and drinking healthy ... ( DETOX ) in short. We are looking to work with her as she bring to you more information how to live a more healthier life-style.

ABOUT US
Every four months we will present a new issue of .NET BPW Magazine. May-August, September-December, and January-April. This is an advertisement oriented magazine. We promote you!

Members of the Black Professional Women website will be featured in articles during this 4 month period. We have offered several mediums for our members to market their business. It gave some members a boost to start their own business when starting from scratch. Our two mains sites are Black Professional Women.com designed mainly for adding membership and markerting their business.

Black Professional Women.net is basically for advertising those members or non-members accomplishments. In doing so there is a chance their article or advertisement will get a SEO ranking of 95% or above. Plus it seperates them from the clutter on social media.

MEMBERSHIP
In the past BPW.com has prodived the web space which helped many of our members businesses to grow. If you are not a BPW.com member there are two ways you can join. Visit the Black Professional Women.com website and sign-up as a Standard, Consultants, or Moderator. You can also become a member by purchasing an advertisement layout, all will allow give you access to the BPW groups, website features and discounts.

WHATS NEW
We change web hosting, to provide a better service for our members, in doing so our main Blogs had to be re-done. BPW.com Blog, Religious, and Forum will be up soon however, this is a great opportunity to take advantage of the BPW Community Blog where you can introduce yourself and add your business … plus this feature will be free until further notice.

Your will be able to submit your business with our new Available Businesses Directory. Your business will appear in both ( .com and .net ) directories. These new features are free for BPW.com members and anyone purchases a magazine layout and only $5.00 to non-members.

SPECIAL ACKNOWLEDGMENTS
We would like to thank all those who have made the .NET Black Professional Women possible. There were several of you who took the time from your busy schedule to make this magazine a success, for that we are grateful. We have added professionals to the directory and we like to thank you for choosing .NET BPW Magazine and BPW.com to advertise your business.

Take advantage of the social networks like Facebook, LinkedIn and the BPW Community Blog which has been created for BPW.com members to advertise. These groups only allow members of the BPW website to advertise at anytime. We know that we are not a long term solution but we are a solution for your current goal.


Websites and Artists*: 123rf.com, Pixabay.com, Pixels.com, Unsplash.com, Freeimages.com, nappy*, Christina Morillo*, Cflgroup Media*, Asa Dugger*, Starkvisuals*, Explorer Bob*, Bobbonga*, Godisable Jacob* and many others.
 
 

.Net Black Professional Women Magazine Business Directory


SISTER ANGEL NETWORK
Mrs. Melinda J.B. Dupre / Founder

JAMSOURCE / RUNWAY MAGAZINE
Ms. Carolyn D. Baker
/ Founder

C. ALLEN PRODUCTIONS UNLIMITED
Mrs. Cynthia Allen / Founder

GEORGIE'S INFUSED ELIXIRS
Ms. Tomicia Taylor / Founder

RACHEL RENATA
Ms. Rachel R. Jackson / Founder

GWENDOLYN FRAZIER
Mrs. Gwendolyn-Frazier Smith / Founder

ROBIN BELLOWS CONSULTING
Mrs. Robin Bellows
/ Founder
FAB 5 CHIC.com
Mrs. LaVida B. Harris / Founder

KHALILA K. NICE
Ms. Khalila K. Nice / Founder

GOD'S DAUGHTER MINISTRY
Mrs. Cynthia Robinson
SIMPLY PANACHE' WEDDING & EVENTS, LLC
Mrs. Lisa Tinch / Founder

JACQUI SENN
Ms. Jacqui Senn /Founder

KEEP WALKING BY FAITH MINISTRIES
Apostle Kishi Franklin /Founder
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Khalila K. Nice
 
 


Khalila (K.Nice) was born and raised in Houston, Texas. At an early age, she discovered a love for good music listening to an archive of vinyl records that belonged to her parents. As a young teen, Khalila (K. Nice) auditioned with Houston girl group, Girls Tyme, now known as Destiny's Child. Such opportunities gave her the confidence to believe in herself and talents. She continued on her journey in music by performing many of her written poems and songs at local community-focused events and open-mics/performance venues in the Houston area including Red Cat Jazz Café, G's & Z's, and Muddy Waters. Khalila (K. Nice) later won 1st place in a local talent contest with Boogie Down Productions held at Texas Southern University inspiring her to pursue becoming a professional independent recording artist.

With her southern style and prolific songwriting abilities, the vocalist established a Neo-soul sound influenced by the likes of artists such as MC Lyte, Lauryn Hill, Erykah Badu, Jill Scott, India Arie, Janelle Monae' and Chrisette Michele. Khalila (K. Nice) describes her music saying, "My music is a genuine Neo-Improv. I tend to twist lyrics and use my voice as a tool to express what is new, yet old...to awake the conscious minds of listeners worldwide and to share my life experiences through song in hopes to uplift others. The songbird has been featured along with Houston's own Se7en "the Poet", Billy Sorrell, Billy D. Washington, and Kier Spates for "HBO Comedian" Ali Siddiq in the comedy classic "You Should Have Married Your Momma" held at the Stafford Civic Center in 2010.

Khalila (K. Nice)'s debut album "Expressions of Life" was independently released in 2010, which is a collection of songs ranging from R&B, Hip Hop, Neo-Soul to Afro-Centric Jazz Fusion Moods. The vocalist has many supporters that love and commend her lyrical style and impeccable delivery. "Don't Waste Love", "Turn on Ur Recorder", and "U Gotta Go" are just a few of many songs deemed hit singles- which are now available in digital stores.


Continue >>
 
 
 
 
 
 
 

Her sophomore project "the Neo-Improv" released in 2014 features refreshing singles such as "Tell Me Baby", "Pull Up to My Bumper", and "Keep Your Eye Open". Khalila (K. Nice) is self-determined, humble and ready to take the city of Houston by storm. She's poised and focused delivering great content and thought-provoking music to her fans and general public. With the songstress mixture of genres integrated with a flare of Neo-soul, Khalila (K.Nice) is rising from the underground and attracting mainstream attention.

Click Here

Khalila (K.Nice)'s latest project, which she coins a melodic charm, 'One People One Love', is set to Release Summer 2019; One of her best collaboratives yet with Co-Writer, Amir El, featuring Legendary Pioneer Grand Puba of Hip-Hop group Brand Nubian, DJ Icey Hott of Street Military, and Rap artist, Cal Wayne of Houston, Texas with studio-recorded Music Production by Multi-Platinum music producer, Jerry (Muhammad 2G). This LP consist of soft spoken Neo-Soul, acoustic R&B Melodies that help elucidate matters stemming from love, life, and injustices. Indie-Artist, Khalila (K.Nice) is certainly fulfilling her purpose within the culture presenting a repertoire of songs that appeal to diverse audiences world-wide.

Album Cover
 
Album Cover
 

Biography by Khalila K. Nice    

 
 
 
 
 
 
 
 
 

Health Awareness

e would like to bring awareness to some different health issues which has plagued society for centuries. These below are only a few heath problems we would like to bring to light. If you are suffering form these problems always remember you are not alone. There are centers and facilities nationwide where help is available.

This segment is to make you aware and let you know that there are survivors and if you have these symptoms visit your nearest physician or medical center.

September:

Ovarian Cancer Awareness Month - The ovaries are small, almond-shaped organs located on either side of the uterus. Eggs are produced in the ovaries. Ovarian cancer can occur in several different parts of the ovary.

Ovarian cancer can start in the ovary’s germ, stromal, or epithelial cells. Germ cells are the cells that become eggs. Stromal cells make up the substance of the ovary. Epithelial cells are the outer layer of the ovary.

The American Cancer Society estimates that 22,240 women will be diagnosed with ovarian cancer in the United States in 2018, and 14,070 deaths will occur from this type of cancer in 2018. About half of all cases occur in women over the age of 63. Read more ...

Prostate Cancer Awareness Month - In the early stages, you may not notice any symptoms related to prostate cancer. This is why screenings are important. Symptoms can sometimes be noticed for the first time when the cancer advances.

Advanced prostate cancer, also called metastatic cancer, means the cancer has spread to other areas of your body beyond your prostate gland. The most common areas for prostate cancer to spread are your bladder, rectum, and bones. It can also spread to your lymph nodes, liver, lungs, and other body tissues.

Whether you’ve just been diagnosed or you’re in treatment, it’s also important to know the signs of advanced cancer. Cancer can behave differently depending on your genetics, so not every person will experience the same symptoms in the same way.

Read on to learn more about the seven top symptoms of advanced prostate cancer and how to spot them. Read more ...

October:

National Breast Cancer Awareness Month - Cancer occurs when changes called mutations take place in genes that regulate cell growth. The mutations let the cells divide and multiply in an uncontrolled way.

Breast cancer is cancer that develops in breast cells. Typically, the cancer forms in either the lobules or the ducts of the breast. Lobules are the glands that produce milk, and ducts are the pathways that bring the milk from the glands to the nipple. Cancer can also occur in the fatty tissue or the fibrous connective tissue within your breast.

The uncontrolled cancer cells often invade other healthy breast tissue and can travel to the lymph nodes under the arms. The lymph nodes are a primary pathway that help the cancer cells move to other parts of the body. Read more ...

National Down Syndrome Awareness Month - Down syndrome (sometimes called Down’s syndrome) is a condition in which a child is born with an extra copy of their 21st chromosome — hence its other name, trisomy 21. This causes physical and mental developmental delays and disabilities.

 
 

Many of the disabilities are lifelong, and they can also shorten life expectancy. However, people with Down syndrome can live healthy and fulfilling lives. Recent medical advances, as well as cultural and institutional support for people with Down syndrome and their families, provides many opportunities to help overcome the challenges of this condition. Read more ...

Sudden Infant Death Syndrome (SIDS) Awareness Month - Sudden infant death syndrome (SIDS) is when a seemingly healthy baby dies unexpectedly and suddenly, and there is no explanation for the cause of their death. Even after a thorough investigation, an explanation for cause of death may not be found.

SIDS, also known as crib death, usually occurs while a baby is asleep.

Even though SIDS is considered rare, it’s the most common cause of death for children under the age of 1 in the United States. It most often happens between the ages of 2 and 4 months. In 2015Trusted Source, approximately 1,600 babies died of SIDS in the United States. Read more ...

November:

American Diabetes Month - Diabetes mellitus, commonly known as diabetes, is a metabolic disease that causes high blood sugar. The hormone insulin moves sugar from the blood into your cells to be stored or used for energy. With diabetes, your body either doesn’t make enough insulin or can’t effectively use the insulin it does make. Read more ...

Lung Cancer Awareness Month - Lung cancer is cancer that starts in the lungs.

The most common type is non-small cell lung cancer (NSCLC). NSCLC makes up about 80 to 85 percent of all cases. Thirty percent of these cases start in the cells that form the lining of the body’s cavities and surfaces.

This type usually forms in the outer part of the lungs (adenocarcinomas). Another 30 percent of cases begin in cells that line the passages of the respiratory tract (squamous cell carcinoma).

A rare subset of adenocarcinoma begins in the tiny air sacs in the lungs (alveoli). It’s called adenocarcinoma in situ (AIS). Read more ...

National Epilepsy Awareness Month - Epilepsy is a chronic disorder that causes unprovoked, recurrent seizures. A seizure is a sudden rush of electrical activity in the brain.

There are two main types of seizures. Generalized seizures affect the whole brain. Focal, or partial seizures, affect just one part of the brain.

A mild seizure may be difficult to recognize. It can last a few seconds during which you lack awareness.

Stronger seizures can cause spasms and uncontrollable muscle twitches, and can last a few seconds to several minutes. During a stronger seizure, some people become confused or lose consciousness. Afterward you may have no memory of it happening. Read more ...

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December:

World AIDS Day (Dec. 1) - HIV is a virus that damages the immune system. The immune system helps the body fight off infections. Untreated HIV infects and kills CD4 cells, which are a type of immune cell called T cells. Over time, as HIV kills more CD4 cells, the body is more likely to get various types of infections and cancers. Read more ...

 
 
 
 
 
 
 


Click on Directions and type in your address and type "Cancer Center" to find the facility nearist to you..
Source: Healthline.com / Google Maps

Take your first step into the world of public health. Learn research skills that help you pinpoint the causes of the world's toughest health problems.

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Simultaneously modern and timeless, the Modern Romance collection sets the stage for an unforgettable evening. The soft colors, bold glitter, and chic gold foil accents create the perfect atmosphere to celebrate your love and new beginnings.
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EXCLUSIVE: Sonequa Martin-Green on 'Discovery''s Future

'Discovery''s star talks the season's far flung finale, grasping quantum physics, and why she loved screaming at the top of her lungs.
BY STARTREK.COM STAFF / APRIL 19, 2019 11:00 AM EDT

 

SMG Interview

Spoilers for Star Trek: Discovery's two part season two finale to follow. Proceed with caution.
 
 
 
 
 
 
 
 
 
 

"Time is the fire in which we burn."

hen Star Trek first quoted the poet Delmore Schwartz, who could have known how apt the simple line would be? Over the course of Star Trek: Discovery's second season, Michael Burnham came to understand not only the non-linear vastness of time, but also what it could teach her. “Such Sweet Sorrow, Part 2” found our heroine at peace with family and friends before strapping into the Red Angel suit, Iron Man-style, and trekking 950 years into the future – with Discovery in her wake – in order to protect the sphere data and save the galaxy.

As always, Sonequa Martin-Green infused Burnham with heart, hope, fear and excitement, and delivered on the episode's intense action too. In an exclusive interview, we picked the effusive Martin-Green’s brain about the finale, season two as a whole, her hopes for season three, and her hiatus plans.

Sonequa Martin-Green
Russ Martin / CBS Interactive

StarTrek.com: What worked best for you about the season finale?

Sonequa Martin-Green: Oh my gosh, all of the puzzle pieces fit together, I think, very beautifully. And very comprehensively, very completely, courageously, yet respectfully. I appreciated how everything you've seen, especially over season two, but certainly over season one, as well played a part. I love how all these story points came together, all of these people came together, and I love that it was ultimately to save all of sentient life and save the future. I love that even though we're going to do that and we're going boldly where nobody has gone before — I mean, can you believe that we are actually doing that? — we're doing it as a family. We're going to land 950 years in the future as a real, solidified and unified crew.

 
 
Try It Free
StarTrek.com

So much of what you do on Discovery, but especially in the finale, involves special effects. Did you feel like a viewer watching it for the first time?

SMG: That's the thing, it's indescribable. We were transfixed. Alex Kurtzman put on a big event for all of us, and we got to see it on a big screen. We were dumbfounded. It was electrifying. We just sat there with our jaws open, mouths agape, bated breath. We couldn't believe this was what we had done, because what we leaned on was the words on the page, the story, the direction, and our imagination, right? And to see it all come together like that, none of us expected it to be that grand, [or] that dazzling. So, we just looked around at each other with tears in our eyes and said, "Wow, so this is our show."

Many actors need to understand what's happening in their scenes and dialogue in order to play moments. Discovery deals in faith, quantum physics, time crystals, wormholes, mycelial networks, multiple species, and a mirror universe. How much do you need to grasp in order to invest in the moment and sell that moment to the viewer?

SMG: I have to have as firm of a grasp as I possibly can, because this is, number one, a vast universe. It has everything you just said and more. [And] my character's a genius in quantum mechanics, the only human to have graduated from the Vulcan Learning Center and Vulcan Science Academy, and was ahead of my Vulcan peers. Also, I’m a genius in xeno-anthropology. These are things I'm not going to have [a complete grasp] of as Sonequa. I would have to go study those things to have the totality [of that knowledge], but I do have to have a firm-enough grasp where, when I speak, I'm coming from the heart.

That means I have to do a lot of research. [laughs] That means I find myself in my own rabbit hole on the internet of quantum physics and light travel and time travel, and all these things we're talking about. I'm doing all this research so I at least have some understanding. [This way] I can come at it from not even just the heart, but the mind as well, and really speak Michael’s truth. I get lost, and sometimes I'm like, "Okay, my mind is spinning, and I think I'll stop there."

On a less serious note, you screamed an awful lot during the finale's time travel sequence. How long did your director, Olatunde Osunsanmi, have you screaming on set and in ADR?

SMG: Aw, man, there was a lot of screaming. There wasn't as much screaming on the days we were shooting that sequence, but I did scream quite a bit in ADR. But you know what? There's something freeing about screaming at the top of your lungs. I don't know the last time you did it, but try it. If you find yourself in an open field somewhere, scream at the top of your lungs. It feels really good.

 
 
 
 
 
 
 
Sonequa Martin-Green
 
 
Sonequa Martin-Green
 
 
 
 
 
 
 

In what ways did you feel season two built on season one, and how different an experience from year one was year two?

SMG: I love this question because what I’ve said before is — and I'll continue to say this because I think it's a perfect way to describe it — I feel we hit the ground running with season one. We had so much ground to cover, and I think it was a valiant effort. We were at war with the Klingon Empire, and we went at breakneck speed because of that war.

Really, the biggest change from season one to season two is we were able to slow down a bit and deal with the aftermath of the war, deal with how it had changed [the Discovery crew], and how we were going to be now, moving forward. I love that you pick up with us in this state of restoration — wanting to restore ourselves, wanting to restore our relationship, wanting to restore Starfleet. That carries us into the great mystery of season two, which is, of course, the Red Angel and these signals, which obviously then uncovers this great threat of Control.

I love what Alex, Michelle Paradise and the other producers and writers did with season two. We gelled and built off of where we were, and where our showrunners took us with season one. We ramped up from that and found ourselves in a very new and exciting and interesting place.

Sonequa Martin-Green
StarTrek.com

Which is 950 years into the future for the Discovery crew.

SMG: And I think that, going where we are going, — I just gotta say it, going boldly where no one has gone before — [the excitement] will just continue. Now that we have found ourselves in this new place, I'm very excited to see how that plays out. Our [show] name is Star Trek: Discovery, and the people on the starship Discovery are discovering themselves.

 
 

You have Saru going from fear-based to power-based. Culber came back to life, so it’s Culber and Stamets having to realize who they are to each other. Tilly is realizing herself in this new way, separate from her mother. Then, obviously, Burnham had all these cornerstones of shame taken down one by one. Spock realized the balance between being Vulcan and being human at the same time. Michael helped him realize that, and he helped her realize herself. There's all this self-actualization, and I love that we're finding ourselves as a family and as a crew.

How cool, weird and Star Trek-y was it that your husband, Kenric Green, is your father?

SMG: It was the best thing ever. I tell you, we never in a million years would have imagined that would be our connection in this story. It's wild, it really is, but we were very moved by it. Even though he was only on the show for such a short period of time, he is forever solidified in canon as my father; I am his namesake. He will always be there. We felt that that opportunity was so huge, so, I love it. We both love it.

Although we didn't work together, we had a lot of fun. It's just such a funny thing to say that my husband is my dad.

Given how “Such Sweet Sorrow, Part 2” played out, there must have been a lot of tears on the set, right?

SMG: There were a lot of tears, because these are people that have been with us — in many cases — from the very beginning. There were so many goodbyes, and so I’ve got to shout out all of them. All of our Trek family, family forever.

Looking to season three, what do you hope to explore as Burnham continues to evolve?

SMG: Well, in a perfect world, I'm hoping for a balance; that very same balance we saw Spock find, that Saru's trying to find, that all the other characters are trying to find.

I'm very excited for it because when you pick up with Michael Burnham, [she's] this Vulcan-Human. I have this image I have built up, and it is made of diamonds. It's almost impenetrable, these defenses I've put up as I've been overcompensating and seeking absolution. [I'm] being driven by shame and guilt and needing to prove myself. That's where you picked up with me, at the beginning of this show. So, what I love is that you see this outpouring of emotion in season two, because the pendulum has swung the other way. Now I've really connected with my humanity like never before. So now it's time for us to swing, and swing, and swing, and swing until it gets to the middle and we find this balance.

That balance is something I'm going to be working on for some time to come, and that's what I'm really excited to find. I'm excited for the freedom that is to come for Michael Burnham, as well, now that I'm not driven by shame. All these things have been plucked out and uprooted, so now I have the freedom to be who I am.

Sonequa Martin-Green
StarTrek.com
 
 
 
 
 
 
 

During your hiatus after season one, you spent time with your family and did publicity for the show. This year, it seems like you’re getting in more work. Can you tell us about your Netflix movie, Holiday Rush? And will you be Mrs. LeBron James in Space Jam 2?

SMG: I am very excited about Holiday Rush, because we're almost done now and it's been such an incredible experience. I love everybody I've been working with. I've never done anything that you’d categorize as heartwarming. I certainly haven't done anything in the holiday genre. So, it's been really lovely to tell this family-oriented story that is full of spiritual context and so warm. I've also certainly been spending my hiatus time with my family. I'm having a really good time. And [in terms of Space Jam 2], we will see what else the hiatus has in store.


This interview has been edited and condensed.

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Julie Mehretu
(Interview by Lawrence Chua)

- Julie Mehretu -

t the heart of Julie Mehretu’s paintings is a question about the ways in which we construct and live in the world. Perhaps that is what makes the work so radical: its willingness to unravel the conventionally given answers about the violent environment we inhabit today. Mehretu’s paintings are composed of layers, fragments and movements. One can often detect the detritus of characters, architectural drawings, graffiti, comic books, air-brushing, and ink wash circulating in the space of her paintings. These fragments are not the broken parts of total languages, they are part of a process of describing the world: they come together as they fall apart. Typically, Mehretu begins these paintings by imposing a plan that will dictate the composition, then responds to these outlines with architectural drawings. Gestural marks inhabit those spaces: they act on and are acted upon by the built space of the painting. Some of Mehretu’s recent paintings quote from stadium plans and the architecture of mass sport. We share this interest in the conjoined genealogies of modernity and the sports stadium and the ways in which contemporary experience is mediated by a scopic regime that was historically shaped in such arenas. To look at what is happening in the paintings is to be aware of the feeling of being inside and outside of a thing.

Julie’s and my background growing up inside and outside of things, living between continents, nations, cities, houses, languages and customs, is hardly remarkable, but perhaps it has made us more ambivalent about identity, the tidiness of its spaces and the promises of Empire. This interview took place soon after I returned from winter break in Thailand. I had left my family’s house on the coast for Bangkok the night before the December 26 tsunami swept the region. In the brief moment between the trauma and its symbolic impact, I tried to square the images I saw with what I could remember of the places I knew: a fishing boat lying in the middle of the main road outside my uncle’s house; bodies being pulled from quiet lagoons; upturned buildings in sedate coves; a typically placid seascape gone haywire, beaches piled with corpses and dry ice that only recently were piled with sun-damaged tourists. Watching all this from Bangkok, I had the uncanny feeling that we were all going to go about our lives as usual right after the next commercial, that this bit of violence too would soon be submerged into the normative pace of a larger spectacle. Julie and I had a chance to sit down one weekend recently at Denniston Hill, the upstate New York farm that’s been the site of many passionate conversations between us. In the dining room, the wood-burning stove was stoked and fragrant. Outside, the snow was stacked into an abstraction of the northeastern landscape. I think of Mehretu’s paintings as going a long way toward articulating the disjunction of life as it’s lived today: as we circulate across reality and its mediations, constantly trying to reconcile daily experience with the peculiar light emanating from the end of the world as we know it.

Lawrence Chua
On Friday night in your studio you were talking about being in an unusual place and fumbling around with a new language. That’s exactly how I feel coming back to the US after being in Bangkok. There are little gaps in my language. I see something and I want to describe it but I momentarily lack the words.

 
 

Julie Mehretu
Why do you think that is? You mean you lack the words because it’s something you still don’t know how to articulate?

LC
Maybe it comes from having to communicate in a completely different idiom and realizing that certain things are beyond translation.

JM
Right. It’s interesting that you bring up coming back here and trying to articulate certain conditions and losing words. That’s exactly how I’ve been feeling, so now I’m back to just drawing. In the past, all my work has evolved from one painting to the next. Little by little I’d bring more and more elements into the painting. I worked with this whole idea that the drawn marks behave as characters, individuals. The characters keep evolving and changing through the painting. But I think with the last group of paintings, I have been able to take this language that I’ve been developing, in all its many parts, and really bring it to a head, almost like a crescendo. I was really trying to make some sense out of this situation we’re in and I felt I had the means, that language to do so, but then afterward when I went back into the studio to make new work, as clearly as everything had crystallized and come together previously, it all disintegrated and fell out from under me. I think those cycles of clarity and confusion are just part of the creative process. The map and the layering and the reason I was actually physically making the paintings all had had a clear and specific meaning in the work. The questions that have come up for me now are, Can I still make the paintings in this way, can they continue to evolve and be meaningful given my changing perspective and response to the world? What is still interesting to me about the layering or even the actual physical process, the visual language of the marks themselves? How can I continue to make paintings? Basically I feel like I don’t know how to translate what’s going on in my head. When I look at the work and the way I was thinking about it before, it feels like we were dealing with such a different social condition.


Julie Mehretu, Seven Acts of Mercy (detail), ink and acrlyic on cancas, 9½ X 21 inches.

LC
In the new work you’ve continued layering different architectural experiences. There’s some detail of the built environment in Lagos on the same plane as a detail of somewhere on the Upper West Side. I’m curious how you see those terms shifting in your work right now.

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JM
Of course it sounds naive, but before the Bush Administration and September 11, there was this underlying feeling that the world was progressing in a particular way and different cities were developing and morphing into this kind of unified pseudo-capitalist dream, or something. It was easy to go back to certain utopian ideas about the way that things could develop, even though it was obvious that there were so many obstacles, intense violence, and injustices, that this was not a true reality: the American economy being so huge and doing so well, the development of the EU, the rapid growth of the Chinese economy, the quickly changing economy and development of India, the democratization of Nigeria, air flights going back and forth everywhere. That false perspective and weird hope just was crushed in the last few years. The way the US has responded, especially with the war in Iraq, has put the world into a different place. I’m not so interested right now in tying Lagos and New York into a morphed experience without bringing this new and different context into the mix. Right now it just feels like this big knot of all these different tendencies. It’s coming out in my drawings a lot; they look like these nests or gnarled webs. Space is deflated and conflated. I’m still trying to understand it myself.

LC
A distinct conception of space has emerged since that collapse you were talking about. If you read some of the reports about what Baghdad looks like today, there’s this sense that there’s one enclave that’s very protected, almost a miniature American shopping mall, and that enclave is set within the context of a very turbulent city.

JM
What’s it called, the Green Zone? The Free Zone?

LC The Liberty Zone. Something like that. (laughter) Whatever. So you have these two very distinct parts of the same urban environment, but in a way they’re worlds apart, even though they’re on the same plane. I was thinking how the colonial city has developed in a similar way. In cities like Delhi or Algiers, there was the European city and then there was the old city. The European city is this very clean city that’s completely purged of disease, and everything is very neatly planned, and then you have the native city, which is very picturesque but with an incomprehensible plan, dirty streets, very lively interactions. In the 20th-century history of architecture, what you see happening is those colonial cities becoming blueprints for the metropoles. Daniel Burnham was mapping out new urban centers like Baguio in the Philippines before he went on to devise the plan for Chicago. In places like Baghdad, or Bangkok for that matter, there are two separate cities evolving in the same place. The experience of living in that city, in these two separate cities on the same plane, is really difficult to describe in language but your paintings fill that void for me. What is it like to go from these completely crazy streets that are barely large enough for you to walk down, let alone for a car, with hundreds of people navigating these tiny human spaces, into a mega-shopping mall, these huge arcades? I’m wondering where utopia fits into that? Is that the utopia that America is trying to create?

JM
I think they want more shoppers. (laughter) I don’t know. What I am interested in are these plural events that seem worlds apart happening and being experienced at the same time, and the relationship between those places, or existing in between that. It’s hard because I don’t like to only talk about the US exporting those types of ideas, but also how those ambitions are imported to places. Iraq as a situation is such a quagmire. I was talking to a friend who works at the State Department who was saying that this is basically going to be the largest embassy for the US, the largest foreign embassy that they plan on building. That to me is the same situation you’re talking about, the extreme capitalist colonial palace in the middle of the worst dysfunctional condition. So you have to think that there’s a colonial mission, or something similar to one. That is something we were talking about in the studio also.

LC
Right. You’ve been looking at some of the Viennese architect Otto Wagner’s drawings from the turn of the 19th to 20th century. It’s a period that is of interest to me right now in my studies, that moment when modernity was produced. One of the other fellows in my program said that it was only by looking at that period that you could really make sense of what is happening in the world today.

 
 

JM
Why do you think that? Working in the studio, that’s something that I just intuitively go to. I’m attracted to those drawings because I think they work to embody a certain kind of ideology or a dream. They seem like a calling to some higher way of living or being. They seem visionary in that way. The spaces and built legacy of the drawings become these very directed places that nurture and take care of large groups of people in a grander ideal way. Not only can they take care of society, be the containers for us to operate and conduct business in, but they are almost acting out those events for us as well.


Julie Mehretu, When Dawns Were Young, 2004 ink and acrlyic on laytex,140X 187 inches.

LC
The turn of the century is also a moment where the production of leisure spaces becomes instrumental for various political projects. What you’re saying reminds me of the way that the stadium produces its own sort of reality but one that has gone on to mediate the way we look at the world as spectators. Your newer paintings incorporate elements of various stadia in the world. Is this the first time you’re really interested in a particular typology?

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JM
Yes and no. I am intrigued by the stadium for all the reasons you just talked about: it’s become the arena for everything that happens and that we consume. Having spent time in Istanbul, Germany, Australia and then back in the States, I was really interested in how our whole experience of viewing the world and the war was mediated through the television and newspapers. It felt almost like following a match or a sporting event. That’s reductive, I know, but it was interesting because you could feel a nationalist sensibility in the responses to the war, even in the dissenting perspective. In Australia, there was this intense, almost proud critique of the US and the Americans in general, while officially John Howard and the Aussies were hand in hand with the US. Here was this horrible situation happening and the reactive way each country was relating to it was as if it was a rugby match, as if we weren’t all in it together. Then right after that was the build-up to the Olympics—it was super strange and ironic. I was interested in the kind of discussions everyone was having; we were talking about it as if it was happening in this massive arena. It felt like the whole world had been reduced to that kind of space. I just kept wondering, how could that happen, how could that look, how could I build that feeling? I started collecting stadium plans, as many as I could, built or unbuilt. I brought them all together in the studio and tried to build one mega-stadium out of all the drawings, tying and weaving them together. I also collected different kinds of signage from everywhere I went, street rags, billboards. I wanted to bring nationalist signage, sports signage, street signage and conflate them into one abstract language, and then have these characters, these kind of riotous drawings exist within that. In the stadia paintings there seems like there’s this big event occurring that’s very orderly and makes a lot of sense, that there will be an outcome that we can either cheer or oppose, but that doesn’t really happen in the painting.

LC
You enter the painting with this intention of imposing an order and the forms themselves—

JM
—break it down.

LC
Yeah.

JM
In the center panel of Stadia you can really see the building of the stadium. This would be the container for all the seats and it could hold even more people by superimposing another building on top of that. But then as the two panels on the edge go out, the stadium kind of falls apart and you’re looking at it from the exterior and the interior view simultaneously. That’s the point of departure. The character drawing is battling the architecture in the painting—and that’s the very intuitive part of the work. It’s as if the drawing is digesting the stadium. It’s almost trying to hold up parts of the structure in order to break it down. The desire to focus in on stadia was also about trying to accept what’s happening for me subconsciously in the studio. I was trying to make sense of how this visual language keeps growing and also make a formal link with what I’m actually experiencing. It became clear to me in makingCongress, the painting I showed you that I made in Australia, that it took on the look of a large arena subconsciously. That painting directed me to examine stadiums in general more closely. It’s not like, Oh, this is what I want to do first. I start building them and after I’ve made the painting, I can talk about them with that kind of distance. The most interesting things that can happen in painting are not what you can plan in advance but what happens when you’re making them. It breaks down all the preconceptions of what you think you have.

LC
So you’re creating a space for chance to happen.

JM
Yes. And to teach me otherwise about what’s going on. Even in our conversation we can have these ideas about what we each bring to it, but through the conversation something else can happen. It’s the same kind of thing that happens in working on the painting. It’s almost my way of making sense of what’s happening—besides reading. That’s the best way that I can kind of figure out what’s going on, or how I feel about it.

 
 

Julie Mehretu, Congress, 2003 ink and acrlyic on canvas,71X 102 inches.

LC
I want to talk about your working methodologies. You’ve always approached painting in an architectonic way, but it seems like the new work is even more concerned with structure and the production of space. Have things changed noticeably for you with the newer work?

JM
Yeah, I have a better understanding of architectural language and its history. I’ve also grown with my language and am able to put a lot more thought into how to approach a particular idea or perspective or experience and translate that into a painting. There’s this big part of the language that’s so intuitive or self-conscious; I’m struggling with the idea of how to make work about a particular time when it’s really also a very internal work.

LC
By “internal” do you mean how that time affects your daily life?

JM
Yeah. Or while I think about images and I look at images and have them all over the studio, I’m using abstraction to make the work. The development of that abstract language is a very subconscious, intuitive thing. That doesn’t mean I don’t ever try to take apart the pieces of that language and look at them, but I’m struggling with how you find the in-between. How can abstraction really articulate something that’s happening? When you make a picture of a condition, how can it make sense of that condition?

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LC
Has the importance of your characters, and all the different elements you use, changed in the work?

JM
Earlier on I would think of each mark as having a characteristic or an identity. Each mark would have its own society and would socialize and was, let’s say, a social agent. Then the architectural language came in to give me a place for these characters. It made a link into the world that we inhabit so that it wasn’t just this no-place in which these characters socialized. It also created a sense of time, created a certain kind of social history for the characters. The characters, now, instead of being all these different kinds of little individual agents, have become more like swarms. Before I was interested in how these individual agents would come together and create a whole and affect some kind of change. Now it’s also, how did these bigger events happen by the gathering of all these marks? What is the phenomena being created by these massive changes in the painting? How is it impacting them?

LC
Henri Lefèbvre wrote about the ways that we produce space and space produces us, our daily patterns of life, our unthinking rituals. That seemed so clear at the Athens Olympics this past summer, how walking into the stadium made you part of a larger organism with its own habits.

JM
Instead of just the architectural language delineating the space, the characters and swarms actually develop and create the space. The architectural language serves as a marker to the type and the history of the space, but the characters make the space and break it down. They actually complicate the space in the painting. For example, a bunch of dashes or marks will enter the painting a certain way and then another group of marks enters it another way to completely contradict that. It’s becoming more interesting to me how they’re getting spatially complicated and formally complicated in terms of different vanishing points, but also how those become different perspectives within the space and impact exactly how the painting can be read. My black-and-white painting The Seven Acts of Mercy is based on Caravaggio’sSeven Acts of Mercy. I was looking at his painting a lot when I made mine. He actually has seven different vanishing points for the different acts so that each act happens in its own place while existing in the picture simultaneously with the others. The composition is so complex because of the conflation of these different spaces. The center of my painting feels almost religious. The characters look like they’re sitting in pews in the stadium. But then this other kind of activity undermines that reading and explodes out from various perspectives. All these marks look like larger gestures weaving in and out of each other and the architectural drawing, but they’re actually composed of many different individual marks that gather together and behave. They create and affect one kind of change but then they also challenge each other in trying to pursue one narrative. It becomes much more dramatic in influencing how the space works on the inside and then what happens as the spectacle grows.

LC
What do you mean by spectacle

JM
I guess the way I’m thinking about it is the treatment of the social event. It’s what I’m thinking about when I go to a Knicks game and they’re telling us to shout for so-and-so, it’s a very directed experience. It’s not just your emotional response or your intellectual response to an event, it’s a directed way to experience something.



Jack Rogers
 
 

Julie Mehretu, Manifestation, 2003 ink and acrlyic on canvas,6 ¾ X 9¾ inches.

LC
To what extent are the paintings a critique? We’ve been talking a lot about current political events… .

JM
I don’t look at the paintings necessarily as critique. In fact, I’m not so interested in being critical. What I’m interested in, in painting at least, is our current situation, whether it be political, historical or social, and how it informs me and my context and my past. I am trying to locate myself and my perspective within and between all of it. I know I keep on going back to that, but it’s like, here’s a war and here’s the way that we’re treating the war, and how we’re experiencing the war. I was looking at some great Martha Rosler pieces recently, the Bringing the War Home photocollages which she began in the ’70s. They are her images of advertisements invading the interiors of new homes, new homes designed for living in new worlds, but through the windows you can see soldiers fighting the Vietnam War. There are these interesting juxtapositions of what’s happening and what we experience. Of course there’s much more inherent critique in those pieces.


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LC
That sounds metaphoric in a way that your paintings are not, which is what gives your work its power. We live in a moment that is obsessed with the Real. There’s this disjunction between physical daily life and the kind of extremely mediated reality we glimpse on reality TV or Fox News. Maybe it’s that disjunction that is being lived out in your paintings.

JM
When you’re writing, is it important to you to make that bridge between a situation that is happening right now and the eternal process of working and creativity?

LC
I begin with a structure and I try to have as clear an idea as possible about the structure and the way characters are going to move through that structure and the events that are going to propel them. The structure becomes set in a context, whether it’s the 19th century of Vanity Fair or the 20th-century Gulf War. That context will influence language, rituals, actions, but I try to maintain the structure I set out to build. Colm Tóibín taught these writing workshops where he had the students begin by reading three Greek tragedies. His basic premise was that you could trace all Western narratives to these three tragedies, Electra, Antigone, and Medea. The truth of those relationships, those responses, are a part of our consciousness. So maybe a good writer is writing the same stories over and again. The context may make it a bit more relevant to the moment, but it’s not as if a mother killing her child isn’t incredibly relevant to current political events.

JM
The structure, the architecture, the information and the visual signage that goes into my work changes in the context of what’s going on in the world and impacting me. Then there’s this other subconscious kind of drawing, this other activity that takes place, that is interacting with everything that is changing, and it’s the relationship between the two that really pushes me. And why abstraction? There are so many other ways to make paintings about these conditions that I’m drawn to. But there’s something that’s hard to speak about that abstraction gives me access to.

LC
More and more I shy away from actually describing the physical characteristics of the characters. They almost become abstract figures that operate in a narrative. With the last extended piece of writing that I did, for instance, I was interested in how to completely absent race. I was interested in what kind of person the police were actually looking for on the occasions that they’ve stopped me. You know, what did that guy who robbed the grocery store that you mistook me for look like, exactly? Did we share some common historical reality? How do you begin to talk about the characters without using police language, or this mediated language that is ultimately unreliable, to identify them? For me abstraction is liberating. I read Chester Himes’s prison novel, Yesterday Will Make You Cry, and it is never really clear whether the characters are white or black even though he claimed they were white. He plays this funny game with them, their racial markers, their identities. That was one of the challenges for me in writing the last manuscript. How do you create these characters whose gestures are real and similar to the gestures that you live with in daily life without the burden of this mediated racial identity, while at the same time acknowledging the importance of race in shaping your reality? And now, I don’t want to do traditional area studies for my PhD because what I’m interested in doesn’t just happen in Southeast Asia, it happens in Europe and it happens in the United States.

JM
Yeah. Even though I collect and work with images in the studio they don’t enter the work directly. Instead I’m trying to create my own language. It’s the reason I use the language of European abstraction in my work. I am interested in those ideas because I grew up looking at that type of work, but also not taking any of it at face value. It is as big a part of me as Chinese calligraphy or Ethiopian illuminated manuscripts. The more I understand any kind of work the more I see myself conceptually borrowing from it. Going to the Met and seeing particular paintings over and over inevitably becomes a part of my language. Abstraction in that way allows for all those various places to find expression.

LC
I wonder if that’s because language doesn’t come to us naturally because of each of our specific historical contexts. English or European abstraction is just not second nature to either of us. We meditate intuitively or self-consciously on whether this is the right word or the right gesture to use in this situation.

 
 

JM
I want to shy away from talking about your situation, my situation, as being more privy to a certain kind of understanding—

LC
I totally agree with you, but why are we more conscious of these uses of language? You were talking before about collecting images …

JM
Newspaper images.

LC
Right, and saying that to use them wouldn’t be as liberating as abstraction. Yet someone like Matthew Barney refers to some of the things we have been talking about. He also has a historical trajectory that he draws on where he’s not comfortable accepting a word or gesture at face value, and the discourse produced around his work isn’t reducing it to being about a potato famine.

JM
It’s the same reason that being from Addis Ababa and having lived in say Harare, Dakar, Providence, Kalamazoo, Houston, is not the point of departure for my work. There’s that desire to exoticize, but I don’t know if exoticize is the right word.

LC
That response is a kind of exoticization, but it’s a very sophisticated one. It’s certainly not as crass as it was in the 1980s, but it’s still a mediated version of our experiences: a kind of police report, or APB on our lives.

JM
I think the work is about trying to make sense of what is happening outside of that mediated reality. There are more and more of these complicated situations and I think we all exist in them, or at least I know I do, where I come from two different realities and I’m trying to locate myself. That was the point of departure in all the work, trying to make sense of the version of history and reality that my whole family in Ethiopia is living in, and another one that exists here with my parents and my grandmother and yet another one that I experience.

LC
Yes, but it’s that third part of the equation that is so crucial because it throws everything off kilter.

JM
Totally … (laughter)

LC
Like, there’s Ethiopia and there’s Michigan, but what about the Australian outback in your trajectory? Or, we understand why you were in southern Thailand when the tsunami hit or in New York City on 9/11, but tell us again why you were in Beirut?

JM
Right. (laughter) I think it’s that I’m seeking how to nurture that process of working in the studio while allowing other things to happen. Because the most interesting realizations happen there and that’s why I just want to work on only drawings right now: to allow for that kind of freedom and let those new kinds of languages and new marks arise to articulate a different picture of what’s happening in the world that, even though we’ve talked about it so much, I still feel really confused by.


By Lawrence Chua: BOMB Magazine / Photographs by Christian Cappurro

Antica Farmacista

 
 
 
 
 
 
 

EXHIBITION SCHEDULE

Los Angeles County Museum of Art | Los Angeles
November 3, 2019–March 22, 2020 (BCAM, Level 1)
November 3, 2019–May 17, 2020 (BCAM, Level 3)

Whitney Museum of American Art | New York, N.Y.
June 26–September 20, 2020

High Museum of Art | Atlanta
October 24, 2020–January 31, 2021

Walker Art Center | Minneapolis, Minn.
March 13–July 11, 2021

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e would like to acknowledge an icon Mrs. Leah Chase who passed away on June 1st, 2019. We are taking this time to honor her in a special memorial because she and her restaurant was featured in the .NET Black Professional Women Magazine for June - August issue. I met Mrs Chase once. I was studying art at Southern University at New Orleans & my Art Professor Dr. Jack Jordan used to talk about this restaurant “Dooky Chase” that exhibited African American art. I didn’t think much of it at the time, after all I was in my early 20’s & was not thinking about or would I be able to afford to go there.

It was a Sunday night my Pastor G.R. Washington Sr. asked if I needed a ride home of course I said, “sure” he & First Lady Washington was going to get something to eat, I’m thinking about McDonalds, Burger King, Popeyes, any place with a drive-thru. When he meant eat, he meant eat. He went to Dooky Chase restaurant & it didn’t dawn on me where I was until we sat down. I looked around & art was everywhere. It stopped worrying about how much it was going to cost because I was in a trance-state. Pastor Washington ordered gumbo for everyone but the works of art made my mind drift back to Dr. Jordan & some of the pieces he’d seen, then Mrs. Leah Chase walked to our table & asked if everything was okay. She spoke with Pastor & First Lady Wasington for a while before addressing other customers.

I feel that New Orleans was fortunate to have a person like Mrs. Chase because black people don’t visit museums enough to know more about that side of their culture. Dooky Chase offers that experience … it's not often you can literally sit in the midst of history. Speaking of history Mrs. Chase was host many people who changed history & her passing came as a surprise since the days before the .NET BPW Magazine had launched.

Our prayers goes out to the Chase family & friend & we thank you for sharing such a professional caring person in Mrs. Leah Chase with us.


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Carly Cushine Portrait

USHNIE is a luxury women’s ready-to-wear and accessories brand designed by Carly Cushnie.

At the helm of her namesake label as CEO and Creative Director, Carly Cushnie sets forth with a mission to empower women, and to celebrate diversity and inclusion in all aspects of the business.

Established in 2008, the label was founded on the desire to serve the modern woman. Artfully crafted with clean, sculptural lines, the CUSHNIE collection is precisely tailored to achieve the perfect fit for the female form. Defined by the balance of proportion, structure and fluidity, the CUSHNIE aesthetic embodies a refined sense of cosmopolitan minimalism and femininity.

“As a woman, I understand what my customer wants from her clothes. I’ve grown and evolved alongside her over the past 10 years, and I strive to present her with timeless silhouettes that make her feel sexy, sophisticated and powerful — all at once.”

The CUSHNIE Collection is worn by influential women including Michelle Obama, Beyoncé, Gal Gadot, Lupita Nyong’o, Ava Duvernay, Jessica Biel, Jennifer Lopez, Ashley Graham, and Padma Lakshmi, among many others.

CUSHNIE is distributed through over 100 premiere stockists worldwide. The brand was a winner of the Ecco Domani Award (2009), a finalist for the CFDA/Vogue Fashion Fund (2011) and a nominee for the CFDA Swarovski Award (2012).

Cushine Bridal Collection Cushine Bridal Collection Cushine Bridal Collection
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STYLE STORY / CARLY CUSHNIE
1 year ago by The Atelier Photos Sally Griffiths

You might have seen the news in Business of Fashion yesterday, but the sublime Carly Cushnie is striking out on her own and re-branding as Cushnie. We were lucky enough to catch Carly for a few moments before the blitz of fashion week in her Brooklyn home where we got a bit more insight on her inspiration and her brand…

CONTACT US

BY EMAIL
CUSTOMERCARE@CUSHNIE.COM

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Monday – Friday 9:30 A.M. TO 6:00 P.M. EST.

1-844-564-7839

FOR PRESS RELATED INQUIRIES
PRESS@CUSHNIE.COM

FOR JOB & INTERNSHIP INQUIRIES
JOBS@CUSHNIE.COM INTERNSHIPS@CUSHNIE.COM

How would you describe your style in three words?

Sleek, feminine, modern.

What did your mother teach you about style and fashion?

She always taught me that it was better to be overdressed than underdressed. That it’s important to always make an effort and look your best- regardless of the occasion.

What is something you would never wear?

I think it’s hard to say never… Things come back around and reinvent themselves in the most surprising and chicest of ways sometimes. That something you thought you would never wear suddenly feels updated and cool and you figure out how to wear it in a way that suits you. That being said, I’m not sure you’ll ever find me wearing crocs ;)

Your clothing line, Cushnie, is full of bold colors, strong lines and flattering cuts. What inspired you to start the line?

The collection was founded on what seemed to be a void in the market – clothing that was sleek and minimal, but also sexy and feminine. Brands that were minimal were often very somber or androgynous and brands that were sexy tended to be overtly body-conscious. I wanted to strike a balance – to design a collection that was timeless and elegant, while also being very modern and feminine. Crafted with clean, sculptural lines- each piece of the collection is precisely tailored to really highlight the female form.


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Do you have a specific type of woman in mind when you’re dreaming up designs for Cushnie?

The woman I design for is inherently confident. She’s multifaceted, she’s sophisticated, and she looks for a certain level of craftsmanship and versatility in her clothing. As I design, I think not only about how a woman is going to look in a garment, but how she’s going to feel in that particular fabric, color or silhouette. My customer’s needs are paramount in every single piece I make, I want her to feel both empowered and at ease in her clothing – to really let her personality shine through.

Do you approach interior design differently than designing a piece of clothing? Or are there elements that overlap?

There are definitely elements that overlap in the way that I design my home and the way that I think about my clothing. My home is sleek and modern, featuring pops of color with bright accent walls and unique finds from various travels with my husband. My home is a product of mixing many different elements and inspirations, which is also true of my collections. However, a home is not a cocktail dress in that it has to be fitting for every day and every occasion. I really took my time with decorating the space, allowing each piece to build on another – the result feels modern but eclectic, and refined yet romantic.

Top, Cushnie; bottoms, Cushnie.
Magenta dress, Cushnie.

Yellow bottom, Cushnie; denim, Lee Body Optix x Cushnie..

All hoops, Jennifer Fisher; disc earrings, Monica Sordo x Cushnie FW18 collection.

 
 
 
 
 
 
 
Carly Cushnie / The Atelier Photos by Sally Griffiths

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ocated at the southernmost tip of the Windward Islands, just 100 miles north of Venezuela and outside of the hurricane belt, Grenada and Carriacou provide a safe, quiet and family-friendly year-round getaway from the hustle and bustle of daily life. There is much to do on land, but it is underwater where the islands really come into their own.

Between them, they boast a veritable fleet of sunken ships – with the enormous 600-foot-long Italian liner Bianca C as an impressive flagship – alongside some of the healthiest coral reefs in the Caribbean, and both habitats (man-made and natural) support a diverse range of marine life, including various species of turtle and shark, eagle rays, stingrays, barracuda, tarpon and all the usual reef suspects.

The islands could be purpose-made for dive groups. From a diving perspective, you have a rich selection of sites to choose from, in depths to suit all levels of experience, and with reefs, wrecks and marine life aplenty, there is something for everyone. And for any non-diving members of the party – or when you just want to let your gills dry out – the islands boast a multitude of topside activities and attractions, from historic forts, run distilleries and cocoa plantations to magnificent waterfalls, national parks and mountains.

Grenada and Carriacou are also great spots for couples. I have fond memories of Grenada as it was the first place I visited with my now-wife many years ago. Whether you are both exploring beneath the waves, enjoying a romantic stroll along a stunning beach, or trekking through lush rainforest to some remote waterfall, there is much to bring you together.

Once two becomes three or more, and you have a family in tow, then Grenada and Carriacou unveil its ‘fun side’, and children will love the off-road safaris, river tubing, snorkelling and other adrenaline activities.

The islands offer plenty to lure you in, and while you can choose to stay on one or the other, a twin-centre holiday taking in both Grenada and Carriacou should be high on your bucket list.

Stroll along the beach

Between them, Grenada and Carriacou are blessed with a plethora of stunning beaches but make sure you take the time to wander along the 2km Grand Anse Beach in Grenada and the 1.6km Paradise Beach in Carriacou. Both are picture-perfect scenes of island bliss and you can’t beat sinking your toes into the soft sand while soaking up the views.

10 Things You Must Do In Grenada And Carriacou
 
 

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Climb every mountain

Okay, maybe not every mountain, but there are plenty of peaks to set your sights on, including the 2757-feet Mount St Catherine on Grenada and the 955-feet High North Peak on Carriacou. You will be rewarded for your efforts with absolutely awesome panoramic views of the islands and surrounding waters.

Circling the Sisters

One of the most famous dive sites, which has phenomenal coral growth and a diverse mix of marine life, is the Sisters, off Carriacou. These two rock pinnacles actually provide two dive sites, Deep Blue and Barracuda Point, and can be extremely challenging, as they are washed by strong currents. A must-dive for experienced divers.

10 Things You Must Do In Grenada And Carriacou

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Chasing waterfalls

Grenada boasts several visually impressive waterfalls, but St Margaret Falls, also known as Seven Sisters, is worth a visit – the lower two falls are perfect family outings, but the higher five promise a formidable trek for the adventurous. Also check out Concord Falls, which gets ever more beautiful the higher you go, and the remote Tufton Hall Waterfall, which will require you to don your hiking boots and complete a three-hour guided hike into the interior.

10 Things You Must Do In Grenada And Carriacou

Traditional boat building

On Carriacou, you have the unique opportunity to visit Windward, and see sailing boats and sloops being painstakingly hand-crafted using traditional methods passed down by Scottish settlers. Time your visit for the beginning of August, and you will also be able to witness the exciting Carriacou Regatta, a three-day event which sees locally built vessels of varying size compete against one another.

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10 Things You Must Do In Grenada And Carriacou

Visit the ‘Titanic of the Caribbean’

Even if you aren’t a committed wreck diver, you have to pay homage to one of the largest shipwrecks in the Caribbean, the monster Italian liner Bianca C. She sank in 1961 and is sitting upright in over 50m of water. She has started to deteriorate after over 55 years on the seabed, but there is still plenty to see and she remains a magnificent, awe-inspiring sight.

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10 Things You Must Do In Grenada And Carriacou
 
 
 
 
 
 
 
 

Travel into the past

The Belmont Estate is a 300-year-old, working plantation, and it provides visitors with the unique opportunity to see firsthand the centuries-old practice of processing cocoa and producing some of the region’s best chocolate. Re-enactments are regularly held, giving a fascinating glimpse into the past.

Enjoy a fresh fish supper

Gouyave is Grenada’s main fishing town and is renowned for Fish Friday, your opportunity to mix with the locals, who flock here for this weekly outdoor culinary event where you can sample seafood delicacies of every description, all cooked fresh over open fires. Gouyave is also home to one of the largest nutmeg processing factories on the island.

10 Things You Must Do In Grenada And Carriacou

Underwater works of art

Whether you are a newly qualified diver or a seasoned veteran, you have got to pay a visit to Grenada’s Underwater Sculpture Park, which was ranked in the Top 25 ‘Wonders of the World’ by National Geographic. Weirdly lifelike sculptures by Jason de Caires Taylor and other artists adorn the seabed, slowly being engulfed by vibrant marine growth. It is so shallow, even snorkellers can join in the fun!

Tour St George’s

St George’s is the capital of Grenada, and is it home to many interesting tourist attractions, including Fort George, which was built by the French in 1705 and offers stunning views from the battlements. The town is also home to the Grenada National Museum, which is housed in a French barracks dating back to 1704 and displays hundreds of historical items, including Carib and Arawak artefacts, whaling industry tools, sugar-processing machines, and even Josephine Bonaparte’s marble bath!

 
 
10 Things You Must Do In Grenada And Carriacou

You can learn more about Grenada and Carriacou at https://www.scubadivermag.com/grenada-carriacou/

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THE WOMAN BEHIND THE INSTITUTION


Tanya Holland
- Chef Tanya Holland -

nown for her inventive take on modern soul food, as well as comfort classics, Tanya Holland is the executive chef/owner of Brown Sugar Kitchen. She is also the author of the Brown Sugar Kitchen Cookbook and New Soul Cooking; was the host and soul food expert on the television series Melting Pot; and competed on the fifteenth season of Top Chef. Holland holds a Bachelor’s degree from the University of Virginia, and a Grande Diplôme from La Varenne Ecole de Cuisine.

Holland appeared as a special guest on countless national television shows including the Today Show, Vh1's Soul Cities, Sarah Moulton’s Cooking Live, Ready, Set, Cook! and The Wayne Brady Show, in addition to local San Francisco shows such as Check, Please!, View from the Bay and Eye on the Bay. Tanya was a featured judge on My Momma Throws Down, airing on the cable network TV One as well as The Great American Chef’s Tour on PBS.

Holland has contributed to The Huffington Post, Food & Wine, Signature Bride, and Wine Enthusiast magazines, and has been featured in articles in The New York Times, Gourmet, O Magazine, The Wall Street Journal, Savoy, Travel & Leisure, and Sunset just to name a few. Holland has served as the president of the prestigious Les Dames d’Escoffier San Francisco chapter.. The City of Oakland declared June 5th, 2012 as Tanya Holland Day for her "Significant Role in Creating Community and Establishing Oakland as a Culinary Center".

As a chef, Holland has traveled extensively in pursuit of more experience and knowledge. In France, she trained with Michel Sarran at Le Mas Du Langoustier on the Island of Porquerolles and with Jean-Michel Bouvier at Restaurant L’Essential in Chambery. She spent two summers cooking on Martha’s Vineyard Island at The Oyster Bar and L’Etoile, interrupted by a winter at Hamersley’s Bistro in Boston.

 

 
 

She received rave reviews as the Executive Chef of The Delux Café in Boston and The Victory Kitchen in Brooklyn. Intrigued by the burgeoning West Coast food movement, Holland decided to move to warmer weather where she returned to the front of the house and garnered stellar reviews in her starring role as Creative Director at Le Théâtre in Berkeley, CA. This lead to the opening of the now famed soul food eatery, Brown Sugar Kitchen in Oakland CA.

Holland holds a Bachelor of Arts in Russian Language and Literature from the University of Virginia, as well as a Grande Diplôme from La Varenne Ecole de Cuisine in Burgundy, France. She began her restaurant career in New York City as an assistant manager at Cornelia Street Café, Café Rakel and Nosmo King Restaurants. Later, she expanded her knowledge of the restaurant business by working as a Catering Office Manager, as well as a wine importer’s Tasting Assistant and a server at Mesa Grill. Her passion for cuisine led her to take on more responsibility as a Food Styling Assistant to Roscoe Betsill, of Metropolitan Home, Vegetarian Times and Food & Wine magazines. Deciding to turn her attention to the kitchen full time, Holland returned to Mesa Grill in 1994, where she worked as a line cook under celebrity chef Bobby Flay.

Tanya Holland with Julia Childs
Tanya with Julia Child

Holland has contributed to The Huffington Post, Food & Wine, Signature Bride, and Wine Enthusiast magazines, and has been featured in articles in O Magazine, The Wall Street Journal, Savoy, Travel & Leisure, Sunset, and numerous local publications. In 1998, she taught at the Cambridge Culinary Institute in Massachusetts and continues to share her knowledge at recreational cooking schools across the country such as Cooking by the Book, Ramekins, Draegers, Central Market, Whole Foods, and Andronico’s Market, and at Rancho La Puerta Resort & Spa in Tecate, Mexico. Holland served on The Board of Directors of Meals on Wheels of San Francisco, and is currently serving on the Board of Directors of Women’s Initiative. She is a member of the Chef’s Council for The Center for Culinary Development in San Francisco. In 2010, Holland was inducted as a member of the prestigious Les Dames d’Escoffier. Holland continues to the share her love of modern Southern fare by bringing home her passion for soul food and the amazing experiences shared through the act of enjoying a meal with family and friends.

 
 
 
 
 
 
 

 
 

She received rave reviews as the Executive Chef of The Delux Café in Boston and The Victory Kitchen in Brooklyn. Intrigued by the burgeoning West Coast food movement, Holland decided to move to warmer weather where she returned to the front of the house and garnered stellar reviews in her starring role as Creative Director at Le Théâtre in Berkeley, CA. This lead to the opening of the now famed soul food eatery, Brown Sugar Kitchen in Oakland CA.

Holland holds a Bachelor of Arts in Russian Language and Literature from the University of Virginia, as well as a Grande Diplôme from La Varenne Ecole de Cuisine in Burgundy, France. She began her restaurant career in New York City as an assistant manager at Cornelia Street Café, Café Rakel and Nosmo King Restaurants. Later, she expanded her knowledge of the restaurant business by working as a Catering Office Manager, as well as a wine importer’s Tasting Assistant and a server at Mesa Grill. Her passion for cuisine led her to take on more responsibility as a Food Styling Assistant to Roscoe Betsill, of Metropolitan Home, Vegetarian Times and Food & Wine magazines. Deciding to turn her attention to the kitchen full time, Holland returned to Mesa Grill in 1994, where she worked as a line cook under celebrity chef Bobby Flay.

Holland has contributed to The Huffington Post, Food & Wine, Signature Bride, and Wine Enthusiast magazines, and has been featured in articles in O Magazine, The Wall Street Journal, Savoy, Travel & Leisure, Sunset, and numerous local publications. In 1998, she taught at the Cambridge Culinary Institute in Massachusetts and continues to share her knowledge at recreational cooking schools across the country such as Cooking by the Book, Ramekins, Draegers, Central Market, Whole Foods, and Andronico’s Market, and at Rancho La Puerta Resort & Spa in Tecate, Mexico. Holland served on The Board of Directors of Meals on Wheels of San Francisco, and is currently serving on the Board of Directors of Women’s Initiative. She is a member of the Chef’s Council for The Center for Culinary Development in San Francisco. In 2010, Holland was inducted as a member of the prestigious Les Dames d’Escoffier. Holland continues to the share her love of modern Southern fare by bringing home her passion for soul food and the amazing experiences shared through the act of enjoying a meal with family and friends.

Oakland location

Dinner Menu

Weekday Breakfast & Lunch Menu

Weekend Breakfast & Lunch Menu

San Francisco Ferry Building


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