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Bones Under Parking Lot Belonged to Richard III

February 4, 2013 by www.nytimes.com Leave a Comment

LEICESTER, England — Until it was discovered beneath a city parking lot last fall, the skeleton had lain unmarked, and unmourned, for more than 500 years. Friars fearful of the men who slew him in battle buried the man in haste, naked and anonymous, without a winding sheet, rings or personal adornments of any kind, in a space so cramped his cloven skull was jammed upright and askew against the head of his shallow grave.

On Monday, confirming what many historians and archaeologists had suspected, a team of experts at the University of Leicester concluded on the basis of DNA and other evidence that the skeletal remains were those of King Richard III, for centuries the most reviled of English monarchs. But the conclusion, said to have been reached “beyond any reasonable doubt,” promised to achieve much more than an end to the oblivion that has been Richard’s fate since his death on Aug. 22, 1485, at the Battle of Bosworth Field, 20 miles from this ancient city in the sheep country of England’s East Midlands.

Among those who found his remains , there is a passionate belief that new attention drawn to Richard by the discovery will inspire a reappraisal that could rehabilitate the medieval king and show him to be a man with a strong sympathy for the rights of the common man, who was deeply wronged by his vengeful Tudor successors. Far from the villainous character memorialized in English histories, films and novels, far from Shakespeare’s damning representation of him as the limping, withered, haunted murderer of his two princely nephews, Richard III can become the subject of a new age of scholarship and popular reappraisal, these enthusiasts believe.

“I think he wanted to be found, he was ready to be found, and we found him, and now we can begin to tell the true story of who he was,” said Philippa Langley, a writer who has been a longtime and fervent member of the Richard III Society , an organization that has worked for decades to bring what it sees as justice to an unjustly vilified man. “Now,” Ms. Langley added, “we can rebury him with honor, and we can rebury him as a king.”

Other members of the team at the University of Leicester pointed to Ms. Langley as the inspiration behind the project, responsible for raising much of the estimated $250,000 — with major contributions from unnamed Americans — it cost to carry out the exhumation and the research that led to confirmation that indeed Richard had been found.

Ms. Langley’s account was that her research for a play about the king had led her to a hunch that Richard’s body would be found beneath the parking lot, in a corner of the buried ruins of the Greyfriars Priory, where John Rouse, a medieval historian writing in Latin within a few years after Richard’s death, had recorded him as having been buried. Other unverified accounts said the king’s body had been thrown by a mob into the River Soar, a mile or more from the priory.

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Richard Taylor, the University of Leicester official who served as a coordinator for the project, said the last piece of the scientific puzzle fell into place with DNA findings that became available on Sunday, five months after the skeletal remains were uncovered. At that point, he said, members of the team knew that they had achieved something historic.

“We knew then, beyond reasonable doubt, that this was Richard III,” Mr. Taylor said. “We’re certain now, as certain as you can be of anything in life.”

The team’s leading geneticist, Turi King, said at a news conference that DNA samples from two modern-day descendants of Richard III’s family had provided a match with samples taken from the skeleton found in the priory ruins. Kevin Schurer, a historian and demographer, tracked down two living descendants of Anne of York, Richard III’s sister, one of them a London-based, Canadian-born furniture maker, Michael Ibsen, 55, and the other a second cousin of Mr. Ibsen’s who has requested anonymity.

Dr. King said tests conducted at three laboratories in England and France had found that the descendants’ mitochondrial DNA, a genetic element inherited through the maternal line of descent, matched that extracted from the parking lot skeleton. She said all three samples belonged to a type of mitochondrial DNA that is carried by only 1 to 2 percent of the English population, a rare enough group to satisfy the project team, pending more work on the samples, that a match had been found.

When she studied the results for the first time, she said, she “went very quiet, then did a little dance around the laboratory.”

Even before the DNA findings came in, team members said, evidence pointed conclusively at the remains as being those of the king. These included confirmation that the body was that of a slight, slender man in his late 20s or early 30s — Richard was 32 at his death — and an analysis of his bones that showed that his high-protein diet had been rich in meat and marine fish, characteristic of a privileged life in the 15th century.

Also strongly indicative, they said, was the radiocarbon dating of two rib bones that showed that they were those of somebody who died between 1455 and 1540. In addition, team members said, the remains showed an array of injuries consistent with historical accounts of the fatal blows Richard III suffered on the battlefield, and other blows he was likely to have sustained after death from vengeful soldiers of the army of Henry Tudor, the Bosworth victor, who succeeded Richard as King Henry VII.

The fatal wound, researchers said, was almost certainly a large skull fracture behind the left ear that was consistent with a crushing blow from a halberd, a medieval weapon with an axlike head on a long pole — the kind of blow that was described by some who witnessed Richard’s death. The team also identified nine other wounds, including what appeared to be dagger blows to the cheek, jaw and lower back, possibly inflicted after death.

But perhaps the most conclusive evidence from the skeletal remains was the deep curvature of the upper spine that the research team said showed the remains to be those of a sufferer of a form of scoliosis, a disease that causes the hunchback appearance, with a raised right shoulder, that was represented in Shakespeare’s play as Richard III’s most pronounced and unappealing feature.

The sense of an important historical watershed was underscored when reporters were escorted to a viewing of the skeletal remains, laid out in a locked room in the university’s library, lying on a black velvet cushion inside a glass case. Two members of the university’s chaplaincy’s staff, one of them in the black-and-red robes of a Roman Catholic priest, sat beside the remains as reporters filed silently by, cautioned by university staff to behave with the “dignity” owed to a king.

Members of the Richard III Society have said in the past that they believed he should be reburied, once found, alongside other British monarchs in Westminster Abbey in London, the traditional venue for most royal weddings and burials. But in Leicester, officials said that plans were in hand to bury the bones early next year in the city’s Anglican cathedral, barely 200 yards from where the skeleton was found, with a visitors’ center dedicated to Richard to be opened in the cathedral grounds at the same time.

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Discovery of Skeleton Puts Richard III in Battle Once Again

September 24, 2012 by www.nytimes.com Leave a Comment

LEICESTER, England — For more than 500 years, King Richard III has been the most widely reviled of English monarchs. But a stunning archaeological find this month here in the English Midlands — a skeleton that medieval scholars believe is very likely to be Richard’s — could lead to a reassessment of his brief but violent reign.

If 12 weeks of DNA and isotope testing confirm that the remains found amid the ruins of an ancient priory are the 15th century king’s, those who believe that Richard has been the victim of a campaign of denigration — begun by the Tudor monarchs who succeeded him and deeply entrenched over the centuries in British popular consciousness — hope the renewed attention will spur scholarship that will correct the injustice they say has been done to his reputation.

It is a debate that has raged with varying intensity since at least the late 18th century. And at its heart is this: Was Richard the villain his detractors expediently made him out to be, or was he, as supporters contend, a goodly king, harsh in ways that were a function of an unforgiving time, but the author of groundbreaking measures to help the poor, extend protections to suspected felons and ease bans on the printing and selling of books?

The version that has prevailed since his death, initially nurtured by the Tudors to entrench their legitimacy, has cast Richard’s 26 months on the throne as one of England’s grimmest periods, its excesses captured in his alleged role in the murder in the Tower of London of two young princes — his own nephews — to rid himself of potential rivals.

In Shakespeare’s “Richard III,” and in movies shaped by it, he is depicted as an evil, scheming hunchback whose death at 32 ended the War of the Roses and more than three centuries of Plantagenet rule, bookended England’s Middle Ages, and proved a prelude to the triumphs of the Tudors and Elizabethans.

Even Richard’s burial place was left uncertain, an ignominy deemed fitting by Tudor successors whose dominion was secured when Richard was killed — poleaxed, according to witnesses — at the Battle of Bosworth Field in 1485, then bound, naked, to a horse for two days of public display in Leicester, about 100 miles north of London.

Over the next century, the foundations of the modern British state were laid by Henry VIII, son of the Bosworth victor Henry VII, and by Henry VIII’s daughter, Elizabeth I, and it was during their reigns that Richard’s wretched place in history was set by chroniclers loyal to the new rulers.

It was there that things stood, more or less, until three weeks ago, when a University of Leicester archaeologist working in a trench cut into a parking lot uncovered what could turn out to be one of the most remarkable finds in modern British archaeology. Judging from the clamor that has met the discovery in Britain, it may lead to demands for Richard to be buried, like other British kings, in a place of honor like Westminster Abbey.

The archaeologist, Jo Appleby , noted signature characteristics that pointed strongly to Richard: a deformed spine, what she has described as a mortal battlefield wound in the back of the skull from a bladed instrument and a barbed metal arrowhead found between two upper vertebrae.

The remains were buried in the choir, an area of the priory church where Franciscan monks would have sat during ceremonies, close to the altar. It was in the choir that one of the most credible contemporary accounts said Richard had been interred.

But that pointer proved moot when Henry VIII seized and ransacked the monasteries in 1538, leaving priories like Greyfriars to crumble into rubble, to the point where centuries later, nobody had any precise fix as to where they once stood.

That left the archaeologists to determine, using ground-penetrating radar, where the priory had been. Their big break came when it proved to be not under a 19th-century bank building where local legend and scholarship had placed it, but under the more accessible parking lot across the street.

Within days of starting the dig they had located the remains, which Dr. Appleby and her colleagues later painstakingly transferred to a laboratory in Leicester that the partners in the dig — the university, city authorities, and the Richard III Society , dedicated to revising history’s verdict on the king — have declined to name.

Much now depends on the laboratory investigation, especially the DNA tests on genetic material from the remains that will be compared with swab tests from Michael Ibsen, a cabinet maker living in London, whose mother was a 16th-generation niece of King Richard’s. Other tests will involve carbon dating to fix the age of the bones and the arrowhead, and isotope analysis, which can determine where an individual lived in his early years. In Richard’s case, that would be Fotheringhay Castle in Northamptonshire, not far from Leicester.

Those involved in the Leicester dig say that the scientific tests, like much about the venture, are a “long shot.” DNA testing, they say, can be voided by genetic mutations that have occurred over generations. For that and other reasons, they say, a negative DNA finding will not prove, definitively, that the bones are not Richard’s.

Mathew Morris, an archaeologist who was working with Dr. Appleby when the skeleton was found, was cautious about the discovery: “All the archaeology and the lab testing can tell us is, if it is Richard, is that he had a spinal deformity, the nature of the injuries from which he died in battle and the respect shown to him in the place and manner in which he was buried. It can’t tell us anything about Richard the man. But what it may do is to reignite the debate about whether he was a villain or not.”

Experts involved in the dig have reached some tentative conclusions. Lin Foxhall, the chairwoman of Leicester University’s archaeological services department, said preliminary diagnosis of the curved spine pointed to a condition known as scoliosis, which often causes one shoulder to be raised higher than the other — exactly how contemporary accounts described Richard.

“It doesn’t fit with Tudor sources which portray Richard as a wicked hunchback,” Dr. Foxhall said at a news conference to announce the find. “There was a long history from Greco-Roman times onward of associating physical disability like spinal deformations with negative character traits, a belief that we explicitly do not share today.

“But it does partially explain the Tudor representation of Richard III. The individual we have discovered was obviously strong and active despite his disability. If this individual does indeed turn out to be Richard III, this has the potential for a new and different understanding of the last of the Plantagenet kings.”

Philippa Langley, a screenwriter in Edinburgh who led the Richard III Society’s efforts in pushing for the dig, said she expected that if the remains are proved to be the king’s, it will prompt new scholarship discrediting Shakespeare’s representation of him as “an evil man all the way through, with no redeeming features whatsoever.”

“The truth will turn out to be somewhere in between,” Ms. Langley said. “Richard III was a medieval man, and a medieval king; he was a man of his time. But what we know of him doesn’t stack up to his being a brutal man and a serial killer. Now, perhaps, we can finally get to the real Richard, to the truth that lies behind the Tudor lies.”

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Franklin Graham Lauds Atheist Richard Dawkins: ‘Only Two Sexes’

March 23, 2023 by www.breitbart.com Leave a Comment

Celebrated evangelical minister Franklin Graham has praised evolutionary biologist Richard Dawkins for calling out bullying by LGBTQ activists.

“I usually don’t take sides with an atheist,” Rev. Graham wrote on Facebook Wednesday, “but on this issue, I agree 100%.”

“Richard Dawkins said the push by LGBTQ activists to discredit the reality of two biological sexes is ‘utter nonsense,’” Graham noted, in reference to a recent interview with British journalist Piers Morgan in which Dawkins insisted that “there are two sexes, and that’s all there is to it.”

“And we’ve seen the way J.K. Rowling has been bullied, Kathleen Stock has been bullied,” Dawkins declared on the show. “They’ve stood up to it. But it’s very upsetting the way this tiny minority of people has managed to capture the discourse and really talk errant nonsense.”

“They’re even trying to ‘de-gender’ our language,” Graham added.

The reverend went on to tell his ten million Facebook followers that Dawkins criticized how modern woke culture “is bullying people who are bold enough to stand with the scientific fact of two sexes.”

“Science reflects what the Bible clearly says, ‘God created man in His own image, in the image of God He created him; male and female He created them,’” Graham noted. “Period. That’s it.”

“I appreciate him taking a stand for this truth, and I hope you will join me in praying that like the Apostle Paul on the road to Damascus, Richard Dawkins’ eyes will be opened to the truth of the Gospel and God’s love for him,” he concluded.

Richard Dawkins rose to fame, especially, through his 2006 bestseller , The God Delusion , in which he argued against the existence of God.

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Review: Rehabilitating Richard III in ‘The Lost King’

March 23, 2023 by www.sfgate.com Leave a Comment

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Richard III didn’t need a horse for his kingdom. He just needed Philippa Langley.

Langley, a single mother and amateur historian living in Edinburgh, Scotland, became increasingly obsessed with the late English monarch, long portrayed as one of the great villains of history. In the supposedly hunchbacked king who was said to have killed his nephews, Langley and others suspected a centurieslong smear campaign.

The long-held consensus on Richard III had been shaped by the Tudors, who killed Richard and assumed the throne. It’s a narrative, of course, forever since solidified by Shakespeare’s great play. For Richard and his sympathizers, it’s been not just a winter of discontent but some 500 years. “Every tale condemns me for a villain,” the king says in “Richard III.”

Except for “The Lost King.”

Stephen Frears’ new film, which opens in theaters Friday, dramatizes the true tale of Langley’s dogged pursuit to unearth the true story of Richard as well as his actual, long-lost remains — a journey that leads, remarkably, to a parking lot in Leicester.

It’s the kind of comic, eminently British underdog story that Frears excels at. And with Sally Hawkins playing Langley as a woman undeterred by pompous academics and condescending naysayers, “The Lost King” makes for a charmingly droll tale of long-ago and not-so-long-ago reappraisal.

“The Lost King” — which could make a good double feature with Al Pacino’s “Looking for Richard” — reteams much of the creative team behind Frears’ Oscar-nominated 2013 film “Philomena.” It’s penned by Steve Coogan and Jeff Pope and based on Langley’s memoir. Coogan also plays Langley’s estranged husband, who maintains a mostly supportive relationship with her while sharing custody of their sons.

Despite it being a far more modest mystery than “North by Northwest” — playing out mostly at kitchen tables, bookstores and the pub meetings of the Richard III Society — Frears gives his modest film a few big-screen flourishes, including Saul Bass-like opening credits and a Bernard Herrmann-like score by Alexandre Desplat. There’s an innocent man here, too. He just happens to be half a millennium old.

But mostly, Frears sensibly sticks to capturing every quicksilver gesture of the brilliant Hawkins. When we meet Hawkins’ Langley, she’s reached a middle-age ebb. Troubled by chronic fatigue syndrome, Langley is passed over at work. Her marriage has fallen apart. She’s withdrawing from life. But after attending a performance of “Richard III,” she’s captivated by the monarch and recognizes in him someone else who’s been unfairly written off for their supposed disability. When she dives into researching Richard and eventually spearheads a dig in Leicester, Langley’s crusade is a doubled one: to resurrect a marginalized monarch and to assert her own place in the world.

Along the way, Langley is visited by Richard III himself, in the form of the actor (Harry Lloyd) who played him in the production that inspired her in the first place. These are muted scenes as far as apparitions go. I can’t help wondering if here might have been Coogan’s chance to play a war general and trot out his “Gentlemen to bed” line from “The Trip.” But as it is, Coogan is nicely low-key in “The Lost King” and gets one of the film’s best monologues, lamenting both the demonizing and sanctifying of historical figures, or anybody. “We’re all in the middle,” he says.

“The Lost King” very contentedly resides in that middle with a protagonist who accomplishes something extraordinary despite being repeatedly told how ordinary she is. Frears, who has found humanity in royalty and nobility in nobodies, animates every scene with little comic touches of everyday life. Richard may be validated but there are bad guys, here, too. In the film’s final third, University of Leicester officials descend to take the spotlight from Langley — a characterization the university has called unfair and inaccurate. The wheel goes round: If one villain leaves the stages, another must enter.

“The Lost King,” an IFC Films release, is rated PG-13 by the Motion Picture Association for some strong language and brief suggestive references. Running time: 109 minutes. Three stars out of four.

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First Museum Retrospective For Michael Richards, Artist Killed During 9/11 Attacks, On View At North Carolina Museum Of Art

March 21, 2023 by www.forbes.com Leave a Comment

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Visitors to “Michael Richards: Are You Down?” at the North Carolina Museum of Art in Raleigh experience two exhibitions in one. All the objects remain the same. Their meaning, however, totally different.

The first exhibition is seen through the perspective of knowing how the artist died. The second exhibition is seen through putting aside that knowledge–if possible–and considering the work as the artist intend. Richards (1963–2001), of course, could never have anticipated the circumstances of his death and how chillingly resonate it would be to his artwork.

On the morning of September 11, 2001, Richards was working in his Lower Manhattan Cultural Council World Views studio on the 92nd floor of World Trade Center, Tower One . He often worked overnight , as he had on the 10 th into the morning on the 11 th .

He would perish there along with thousands of others, not yet 40-years-old.

Flight and aviation were central themes in his artwork.

Airplanes. Everywhere. Falling airplanes.

His iconic Tar Baby vs. St. Sebastian (1999) sculpture, for which he used himself as the model to create the cast, a common practice of his, features planes piercing his body as arrows did the Catholic Saint. The unintended symbolism in seeing these artworks through the prism of his death literally churns the stomach. It’s almost scary.

“In light of the devastating circumstances of Richards’ passing, the afterlife of his artworks—especially those including airplanes, wings, and pilots—take on added prescience; the connections are astonishing, painful and powerful,” exhibition curators from its debut location, the Museum of Contemporary Art North Miami, Melissa Levin and Alex Fialho, told Forbes.com.

“If you know his story, I think it is impossible to separate the circumstances of his death from his work, but I think it is important to emphasize that for Michael, the work was about much bigger issues than his autobiography–social justice, racism, police brutality, history, and more,” Linda Dougherty, Chief Curator and Curator of Contemporary Art, NCMA, told Forbes.com.

For guests able to get past the ending of his life, the living of his life informs the second exhibition.

Ascension

Of Jamaican and Costa Rican lineage, Michael Richards was born in Brooklyn in 1963, raised in Kingston, and came of age between post-independence Jamaica and post–civil rights era America. He moved back to the United States to attend Queens College, where he earned a BA in 1985. He received an MA from New York University in 1991.

“I’ve been traveling since I was a child. I grew up in Jamaica, in the West Indies, and planes have always been a big part of my life. Pilots in my work function as a symbol—they are almost images of transcendence,” Richards explained to the ArtCenter/South Florida, now Oolite Arts, during an interview in the late 1990s. “They are these beings that go up into the sky that offer freedom, escape and coming to a new land—the yellow brick road and success and all of that–but you always come back to the ground.”

Richards explored the concepts of freedom and escape in his work using the language of metaphor to investigate racial inequity and the tension between assimilation and exclusion. Repression and reprieve. Uplift and downfall. Planes soar and plumet.

Duality.

“An examination of the psychic conflict which results from the desire to both belong to and resist a society which denies blackness even as it affirms,” his artist statement from the mid-90s read.

The Tuskegee Airmen

Richards was working on a series honoring the Tuskegee Airmen at time of his death. He devoted most of his career to sculptures and installations paying tribute to them.

The Tuskegee Airmen were America’s first Black military pilots. Flying fighter planes and escorting bombers over Europe in World War II, their success in protecting the larger planes was unmatched. Their contribution to the war effort was not officially recognized until long after the war ended.

They take their name from their training grounds in Tuskegee, AL at Tuskegee University .

“The dream of flying is ultimately a wish to defy limitations, and in Richards’s work, one sees the manifestation of that desire,” Dougherty explains.

In Tar Baby vs. St. Sebastian , Richards–again, using his own body to cast the sculpture–wears a Tuskegee airmen flight suit with miniature P-51 Mustang planes flying into his body. The P-51 was one of many planes the group flew.

A version of the standing sculpture has been on continuous display at the NCMA since 2003 when the museum featured Richards’ work in an exhibition, “Defying Gravity: Contemporary Art and Flight,” in conjunction with the 100th anniversary of the Wright Brothers first flight at Kitty Hawk, N.C. The exhibition explored ideas of flight in art and included two pieces by Richards, one of which was Tar Baby vs. St. Sebastian. Popular response had the museum work out a long-term loan of the sculpture from Richards’ estate.

“The Tuskegee Airmen are a perfect metaphor because they were considered race men and were working to overturn all the myths and uplift the race. You would work twice as hard and be an example to your race,” Richards said in an interview with the Bronx Museum of the Arts from 1997. “They were getting into those planes and flying twice as many missions as white pilots because they were standard bearers of their race.”

Richards finds in the Tuskegee Airmen a classic example of the duality his work examines, a duality he lived himself.

“It’s also interesting in terms of the interior psychological dialogue that must have been going on with them. Especially the fact that once they landed the planes and walked out, they could not eat in the same mess quarters as white officers. They had segregated barracks,” his interview with the Bronx Museum of the Arts continues. “Yet they were fighting for the ideals of freedom, justice and the American way. It’s a very complicated metaphor. It has a lot to do with my own questions about my place within society. Working within society, making art, and basically making the culture of the society.”

Richards’ Catholicism further informs Tar Baby vs. St. Sebastian .

“The idea of flight relates to my use of pilots and planes, but it also references the Black church, the idea of being lifted up, enraptured, or taken up to a safe place—to a better world,” he explained in the same Bronx Museum of the Arts interview.

Another powerful 1999 sculpture incorporating the Tuskegee Airmen on view in the exhibition is Are you Down?

“Consisting of three identical, downed pilots, cast from the artist’s body, Are You Down? is a complex homage to the Tuskegee Airmen. These heroes are rendered on the ground, and one has to look down, or get down, to engage them—in contrast to the majority of monuments, which are typically triumphant statues of white men raised on pedestals,” Levin and Fialho explain. “These pilots’ uniforms are tattered, ripped across the clavicle and at the knees, legs haphazardly outstretched, their bodies slumped, and their heads tilted downward in resignation. Parachutes conspicuously absent, they have each landed and are stuck, sinking in nearly identical plinths made to look like pools of tar.”

Franconia Sculpture Park, near Minneapolis, hosts a permanent memorial to Richards, featuring a large-scale, bronze recast of Are You Down? originally displayed during a 2000 fellowship there.

Michael Richards’ Legacy

At the time of his death, Richards’ career was soaring like one of the planes in his artwork.

He had participated in the famed Studio Museum in Harlem residency from 1995-96. Other artists to do so have included David Hammons, Titus Kaphar, Simone Leigh, Kerry James Marshall, Julie Mehretu, Wangechi Mutu, Mickalene Thomas and Kehinde Wiley. Superstars every one. That’s the course he was on.

He had been featured in prominent exhibitions at The Corcoran Gallery of Art, Washington, D.C. (2000); The Studio Museum, Chicago Cultural Center and Miami Art Museum (2000); Bronx Museum of the Arts (1997), and at The Aldrich Museum of Contemporary Art in Connecticut.

In 2018, Oolite Arts launched The Michael Richards Award celebrating a Miami-Dade artist who has created a recognized body of original, high-quality works of art over a sustained period of time and who, through their practice, is achieving the highest levels of professional distinction in the visual arts. He worked in residence there from ’97-’00.

“Michael Richards: Are You Down?” marks his first museum retrospective and the largest ever exhibition of his body of work, objects created between 1990 and 2000. The presentation at NCMA runs through July 23, 2023.

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