Catherine McKinley's guest appearances

Catherine McKinley

Conscious Chatter

Feminist Book Club: The Podcast

Stitch Please

Jane Eyre

Candace Bushnell

Sarah Cooper

Eileen Fisher

Jen Hewett

Andrew Morgan

Traci Thomas

Blythe Roberson

Tana French

Sonya Renee Taylor

Jen Gunter

August McLaughlin

Samira Ahmed

Kristen Sollee

Lauren Adams

OwlTail

The Stitch Please podcast will celebrate its 100th episode on  9/15/2021. As part of that effort, we are looking to add 100 additional  Black Women Stitch Patreon supporters by the 100th Stitch Please podcast episode publication date. These funds will be used to build financial stability for the podcast while alleviating the pressure of a solo operation.  Will you join us? For as little as $2 a month, you can help Lisa hire consistent editorial and production support.  Thank you SEW much to our new Patrons! Welcome Cynthia, Terry, Kacina, Alyssa, Cathy, Heather, Shannon, Brandy, Gaëlle, Kristi, Lee, Mo Jo, Alison, Shonkeisha, and Kate. THANK YOU! Learn more about Catherine McKinleyInstagram: @the_african_lookbook  and@cemck2www.catherinemckinley.net www.themckinleycollection.comCatherine says that some of her "most meaningful experiences were sitting at sewing tables in Africa and watching the contact between a seamstress and clients. Sewing orders or elaborate alterations are a weekly or monthly indulgence for many women, so the gossip and planning, the low grade competition, and the intimacy of fittings, etc. was wonderful, not to mention the latest styles and new cloth designs, which changed so rapidly."

The Stitch Please podcast will celebrate its 100th episode on  9/15/2021. As part of that effort, we are looking to add 100 additional  Black Women Stitch Patreon supporters by the 100th Stitch Please podcast episode publication date. These funds will be used to build financial stability for the podcast while alleviating the pressure of a solo operation.  <a href="https://www.patreon.com/blackwomenstitch?fan_landing=true" rel="nofollow" target="_blank">Will you join us? </a>For as little as $2 a month, you can help Lisa hire consistent editorial and production support.  Thank you SEW much to our new Patrons! Welcome Cynthia, Terry, Kacina, Alyssa, Cathy, Heather, Shannon, Brandy, Gaëlle, Kristi, Lee, Mo Jo, Alison, Shonkeisha, and Kate. THANK YOU! Learn more about Catherine McKinleyInstagram: <a href="https://www.instagram.com/the_african_lookbook/" rel="nofollow" target="_blank">@the_african_lookbook  </a>and<a href="https://www.instagram.com/themckinleycollection/" rel="nofollow" target="_blank">@cemck2</a><a href="www.catherinemckinley.net " rel="nofollow" target="_blank">www.catherinemckinley.net </a><a href="www.themckinleycollection.com" rel="nofollow" target="_blank">www.themckinleycollection.com</a>Catherine says that some of her "most meaningful experiences were sitting at sewing tables in Africa and watching the contact between a seamstress and clients. Sewing orders or elaborate alterations are a weekly or monthly indulgence for many women, so the gossip and planning, the low grade competition, and the intimacy of fittings, etc. was wonderful, not to mention the latest styles and new cloth designs, which changed so rapidly."

The African Lookbook with Catherine McKinley

In episode 228, Kestrel welcomes curator and writer Catherine McKinley to the show. The author of Indigo, a journey along the ancient indigo trade routes in West Africa, and The Book of Sarahs, a memoir about growing up Black and Jewish in the 1960s-80s, Catherine has taught creative nonfiction writing at Sarah Lawrence College and Columbia University. Her newest book, The African Lookbook, A Visual History of 100 Years of African Women, draws on her extensive collection of photos to tell a different visual narrative of African women. “In most of the societies, cloth is just, it’s essential, it’s considered something that contains the human spirit and it’s the layer next to the skin — you know, it has all those meanings. And cloth is essential from what you’re wound in the moment of birth to what you’re wound in at the grave.” -Catherine McKinley, Writer + Curator On this week’s show, Catherine shares more on what led her to have an interest in writing, cloth, photographs and fashion. Through our conversation, she reminds us of the layers of meaning that can be embedded in cloth - from culture to identity to wealth to power and beyond. Catherine also explains more on why she highlights the sewing machine and the camera as the two most important machinery for African women in her book — as she calls them, “steadfast instruments that offered a powerful means to author one’s own life.”   ”I’m really driven by this idea of holding onto things from the past and things that are disappearing or are ephemeral in some way.” -Catherine   Seydou Keïta, photographer   Malick Sidibe, photographer   Okwui Enwezor, Catherine studied with him   The Walther Collection, Catherine worked here in the past   “And then I started feeling competitive in a way — these enormously wealthy men who could just acquire and acquire and acquire — you know, every amazing photo document that was coming in, and I started to take it a little bit more seriously. I started doing it in earnest and my collection is primarily women’s photos and I really felt like it’s not theirs, you know. It’s not theirs — I don’t have the access that they have, but to the extent that I can collect, I’m going to collect and I’m gonna claim this and I’m not gonna let it just be our object — I’m gonna think about its use and value to other people, beyond just sitting on a gallery wall.” -Catherine   “I was at a dinner with a group of men in the art world — I was the only female there, I was the only non white person there … it was a very male conversation about photography, and I think I blurted out this thing about the sewing machine and the camera, and everybody looked at me like I was crazy — you know, to say they were the most important machinery for African women." And then, I went home and I still felt like this thing is right, I’m right about this, and I don’t have evidence, but … it was kind of what finally organized the book for me — it was like ok how now am I going to prove this argument to these men in particular? Not that I was all that interested in whether they agreed or not, but it just seemed like this really outrageous claim, so how now am I going to make good on it?” -Catherine   “Cloth certainly has been one of the absolutely most important commodities for women — if you had access to buy one or two pieces of cloth and put that on your head and walk the street and try to sell it, it was small capital to build up more and more and more.” -Catherine   The McKinley Collection, Catherine’s archive representing African photographers from 1870 to the present   The African Lookbook    Follow Catherine on Instagram &gt;  

In episode 228, Kestrel welcomes curator and writer Catherine McKinley to the show. The author of Indigo, a journey along the ancient indigo trade routes in West Africa, and The Book of Sarahs, a memoir about growing up Black and Jewish in the 1960s-80s, Catherine has taught creative nonfiction writing at Sarah Lawrence College and Columbia University. Her newest book, <a href="https://catherinemckinley.net/the-african-lookbook-2/" rel="noopener nofollow" target="_blank">The African Lookbook, A Visual History of 100 Years of African Women</a>, draws on her extensive collection of photos to tell a different visual narrative of African women. “In most of the societies, cloth is just, it’s essential, it’s considered something that contains the human spirit and it’s the layer next to the skin — you know, it has all those meanings. And cloth is essential from what you’re wound in the moment of birth to what you’re wound in at the grave.” -Catherine McKinley, Writer + Curator On this week’s show, Catherine shares more on what led her to have an interest in writing, cloth, photographs and fashion. Through our conversation, she reminds us of the layers of meaning that can be embedded in cloth - from culture to identity to wealth to power and beyond. Catherine also explains more on why she highlights the sewing machine and the camera as the two most important machinery for African women in her book — as she calls them, “steadfast instruments that offered a powerful means to author one’s own life.” <ul> <li> ”I’m really driven by this idea of holding onto things from the past and things that are disappearing or are ephemeral in some way.” -Catherine </li> <li> <a href="http://www.seydoukeitaphotographer.com" rel="noopener nofollow" target="_blank">Seydou Keïta</a>, photographer </li> <li> <a href="https://www.guggenheim.org/artwork/artist/malick-sidibe" rel="noopener nofollow" target="_blank">Malick Sidibe</a>, photographer </li> <li> <a href="https://www.nytimes.com/2019/03/18/obituaries/okwui-enwezor-dead.html" rel="noopener nofollow" target="_blank">Okwui Enwezor</a>, Catherine studied with him </li> <li> <a href="https://www.walthercollection.com/en/" rel="noopener nofollow" target="_blank">The Walther Collection</a>, Catherine worked here in the past </li> <li> “And then I started feeling competitive in a way — these enormously wealthy men who could just acquire and acquire and acquire — you know, every amazing photo document that was coming in, and I started to take it a little bit more seriously. I started doing it in earnest and my collection is primarily women’s photos and I really felt like it’s not theirs, you know. It’s not theirs — I don’t have the access that they have, but to the extent that I can collect, I’m going to collect and I’m gonna claim this and I’m not gonna let it just be our object — I’m gonna think about its use and value to other people, beyond just sitting on a gallery wall.” -Catherine </li> <li> “I was at a dinner with a group of men in the art world — I was the only female there, I was the only non white person there … it was a very male conversation about photography, and I think I blurted out this thing about the sewing machine and the camera, and everybody looked at me like I was crazy — you know, to say they were the most important machinery for African women." And then, I went home and I still felt like this thing is right, I’m right about this, and I don’t have evidence, but … it was kind of what finally organized the book for me — it was like ok how now am I going to prove this argument to these men in particular? Not that I was all that interested in whether they agreed or not, but it just seemed like this really outrageous claim, so how now am I going to make good on it?” -Catherine </li> <li> “Cloth certainly has been one of the absolutely most important commodities for women — if you had access to buy one or two pieces of cloth and put that on your head and walk the street and try to sell it, it was small capital to build up more and more and more.” -Catherine </li> <li> <a href="https://themckinleycollection.com/" rel="noopener nofollow" target="_blank">The McKinley Collection</a>, Catherine’s archive representing African photographers from 1870 to the present </li> <li> <a href="https://catherinemckinley.net/the-african-lookbook-2/" rel="noopener nofollow" target="_blank">The African Lookbook</a> </li> <li> <a href="https://www.instagram.com/the_african_lookbook/" rel="noopener nofollow" target="_blank">Follow Catherine on Instagram &gt;</a> </li> </ul>

S05 Episode 228 | CATHERINE MCKINLEY, AUTHOR OF THE AFRICAN LOOKBOOK, ON THE DEEP MEANING CONNECTED TO CLOTH, THE POWER OF THE CAMERA AND SEWING MACHINE + RECLAIMING VISUAL NARRATIVES

 Catherine E. McKinley is a curator and writer whose books include the critically acclaimed Indigo, a journey along the ancient indigo trade routes in West Africa, and The Book of Sarahs, a memoir about growing up Black and Jewish in the 1960s to ’80s. She’s taught creative nonfiction writing at Sarah Lawrence College and Columbia University. The McKinley Collection, featured here, is a personal archive representing African photographies from 1870 through the present. She lives in New York City.  Click here to purchase The African Lookbook: A Visual History of 100 Years of African Women by Catherine E. McKinley

Catherine E. McKinley is a curator and writer whose books include the critically acclaimed Indigo, a journey along the ancient indigo trade routes in West Africa, and The Book of Sarahs, a memoir about growing up Black and Jewish in the 1960s to ’80s. She’s taught creative nonfiction writing at Sarah Lawrence College and Columbia University. The McKinley Collection, featured here, is a personal archive representing African photographies from 1870 through the present. She lives in New York City. <a href="https://bookshop.org/a/1444/9781620403532" rel="nofollow" target="_blank"> Click here to purchase The African Lookbook: A Visual History of 100 Years of African Women by Catherine E. McKinley</a>

120: Catherine McKinley, author of THE AFRICAN LOOKBOOK