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For Thomas Richardson, a sixty-something-year-old West Indian immigrant who never grew-up, all the womanizing, boozing, and coking up he's done over the past forty-plus years has finally caught up with him and he dies penniless and alone. In his last moments of life, he tells a nurse to send his body back to his ex-wife. But she, still consumed with a loathing for him, doesn't even want to deal with his remains and the responsibility falls on Maye Richardson, the only child of that brief, unhappy union.

Maye quickly arranges a small funeral for the father she has seen only a few times since her mother ran away from his abuse when she was five. The next day her doorbell rings incessantly. When she opens the door, Angie Da Costa introduces herself as her half-sister, apologizes for missing the funeral and explains that she figured they should at least meet. Maye is in utter disbelief....

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Thursday, October 16th, 2008

Women & Gender Studies Institute

University of Toronto

Wanda Ewing is a notable African-American printmaker who has been featured in Bitch magazine and New American Painters. Her critique of the Black female image in the mainstream highlights the affects of media imagery on female insecurity. She satirizes the beauty myth by using humour to poke fun at the idea of recreating ourselves through style and consumption. View her interview on YouTube.