
Cosby Show actor Malcolm-Jamal Warner dies aged 54 in Costa Rica drowning
Costa Rica's Judicial Investigation Department said that Warner drowned on Sunday afternoon on a beach on Costa Rica's Caribbean coast.
Malcolm-Jamal Warner died in an accidental drowning (Jacquelyn Martin/AP)
He was swimming at Playa Cocles in Limon province when a current pulled him deeper into the ocean.
'He was rescued by people on the beach,' the department's initial report said, but first responders from Costa Rica's Red Cross found him without vital signs, and he was taken to the morgue.
Warner created many TV moments etched in the memories of Generation X children and their parents, including a pilot episode argument with Bill Cosby's Cliff Huxtable about money and an ear piercing that he tries to hide from his dad.
Malcolm-Jamal Warner was pulled from the water by bystanders, but first responders were unable to find vital signs (Jordan Strauss/Invision/AP)
Theo was the only son among four daughters in the household of Cliff and Phylicia Rashad's Clair Huxtable on the NBC sitcom, and he would be one of the prime representations of American teenage boyhood on a show that was the most popular in America for much of its run from 1984 to 1992.
He played the role for eight seasons in all 197 episodes, winning an Emmy nomination for supporting actor in a comedy in 1986.
For many, the lasting image of the character, and of Warner, is of him wearing a badly botched mock designer shirt sewn by his sister Denise, played by Lisa Bonet.
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The Irish Sun
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RTÉ News
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Irish Examiner
14 hours ago
- Irish Examiner
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Gilliam was one of the many international artists who have spent time in Ballinaglen with the support of the arts foundation established in the early 1990s by Margo Dolan and the late Peter Maxwell, who owned a prestigious art gallery in Philadelphia. The foundation runs workshops, residencies and fellowships, along with education and outreach programmes and a museum of art. 'It's this amazing place in the middle of the village,' says Cork-born curator Cremin. 'People like Howardena Pindell, who we've shown at IMMA, and Jo Baer, who was very influenced by the archaeology in the area, have all done residencies there. It's very interesting that Ireland has had a real impact on these artists, and a real resonance with them in terms of art making.' Down Patricks-head, by Sam Gilliam. When Cremin began work on the Sewing Fields exhibition, she discovered that Gilliam had once shown in Dublin. 'In the early 1970s, he had a solo exhibition with a gallerist named Oliver Dowling, who passed away just last year. Dowling was a maverick, and quite an influential person within the arts in Ireland. He helped set up the ROSC exhibitions. But it was news both to Annie and to us that Gilliam had ever exhibited in Ireland. We don't think he came over for the opening, but everyone involved is dead now, so it's not possible to say for sure.' Gilliam was born in Tupelo, Mississippi in 1933. 'Growing up where he did,' says Cremin, 'where there's a massive cotton industry, he was probably seeing a lot of quilting and that type of making. We have an exhibition of quilts from Gee's Bend in Mississippi on at IMMA at the moment, and we know that Gilliam had several Gee's Bend quilts in his own art collection. There's a correlation between this idea of stitching and layering, telling narratives through the fabrics, that I think is referenced in his work as well.' In Gilliam's youth, his family migrated north. He studied art at the University of Louisville in Kentucky and then settled in Washington DC. 'He was part of the colour field movement, with people like Kenneth Noland. They made minimal abstract paintings. But later on, he made works that were much more three-dimensional, or sculptural, and he started really playing around with the paint, scraping, stitching and layering. There was really a lot of improvisation. 'He was very interested in jazz as well. Improvisation is very important in jazz, of course, but it's also very important to the kind of way he worked. There were no limitations in terms of how he worked with paint or with the canvas. He was very liberated.' Gilliam came of age during the Civil Rights Movement in America. 'That was, very obviously, hugely important to everyone,' says Cremin. 'And for Gilliam, being a black artist coming up at that time was a big deal, because it was predominantly white males in the art world. He wasn't making work that was overtly political, he was making art for art's sake. But that said, he was very involved in the establishment of the Studio Museum in Harlem, and he was part of a very important exhibition called X in America. 'And also, I guess he does engage politically, in that a lot of his paintings are called after significant black figures, like Martin Luther King. There's one piece in the exhibition here called Count On Us, which is this beautiful three-coloured canvas that's referencing when Obama was voted in as president. It was a very aspirational and very exciting time. So, he referenced politics in a different way.' Mary Cremin, curator. Sewing Fields was organised in collaboration with the Sam Gilliam Foundation, which is run by the late artist's family. 'Gilliam was very supportive of young black artists, and his foundation has continued that work,' says Cremin. 'They also collaborate on exhibitions such as this, ensuring that Gilliam's work is shown as he would have liked. Some of the work in Sewing Fields has never been shown before, and some of the technicians who'd been with Gilliam since the 1980s came over to help with the installation. 'It's only two years since Gilliam passed, but I guess it's important for his work to continue to grow, and for people to have an increased awareness around him. In terms of contemporary Ireland, this is not just the first time he's been shown here since the 1970s, it's his first museum show here as well. Many of these works have never been exhibited before, and many people are travelling over from America to see the show. It's really exciting for us.' Gilliam's time in Mayo may have been brief, but the landscape had a big influence on his work, says Cremin. 'Even towards the end of his life, he was making these really large paintings, with thick impasto, he called Downpatrick Head and Irish, County Mayo. As Annie says, he always referenced back to his time in Ireland.' Sam Gilliam, Sewing Fields runs at the Irish Museum of Modern Art until January 25, 2026. Further information: