Deadline: October 1
Length: Unstated
Comments: “The School of Critical Studies at the California Institute of the Arts. . . invite[s] applications for a full-time faculty position in contemporary art theory, with an emphasis on political thought. Approaches that foreground race and gender are particularly welcome.”
In September 2014, I received a commission to create an installation at the Royal Ontario Museum on the theme of African identity and Canadian history. I have just completed this work, and it will open January 31! The work consists of a Victorian mourning dress made of braided synthetic hair extensions, surrounded by a bed of natural cotton bolls, some of which are altered to contain tufts of my own hair. The installation will stand alone in the Wilson Canadian Heritage Gallery, within the Sigmund Samuels Gallery of Canada. The exhibition will run until November 2015.
Read my artist statement here.
Here is a video discussion by some of the curators and advisors talking about my work (skip to the 18 minute mark) and about the Of Africa initiative, a 3-year program of exhibitions and events about Africa and the African Diaspora.
Race & Aesthetics: A British Society of Aesthetics Connections Conference ran the 19th and 20th of May, at the Leeds Art Gallery. Fourteen speakers and several dozen more participants gathered to share thoughts on any of the points of intersection between the philosophies of race and aesthetics. Topics ranged from sexual attraction to humour to Brett Bailey’s Exhibit B. In what follows, I’ll try to present short but effective summaries of each of the conference talks.
http://www.aestheticsforbirds.com/2015/06/race-aesthetics-2015-retrospective.html
Introduction: Raymond Corbey (Tilburg and Leiden Universities) and Wilfried Van Damme (Leiden University) ‘European encounters with ‘primitive art’ during the late nineteenth century’ 12/vDC1
Articles:
Maarten Couttenier (Royal Museum for Central Africa), ‘“One Speaks Softly, Like in a Sacred Place.” Collecting, Studying and Exhibiting Congolese Artefacts as African Art in Belgium (1850–1897)’ 12/MC1
Christian Kaufmann (University of East Anglia), ‘Seeing art in objects from the Pacific around 1900: how field collecting and German armchair anthropology met between 1873 and 1910’ 12/CK1
Susanne Mersmann (Johannes Gutenberg-Universität Mainz), ‘Defining art in instructions for travellers: the agency of the Questionnaire de Sociologie et d’Ethnographie drafted by the Paris Anthropological Society in 1883’ 12/SM1
Raymond Corbey (Tilburg and Leiden Universities) and Frans Karel Weener (Independent), ‘Collecting while Converting: Missionaries and…
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Written by PJ Policarpio, Brooklyn-based community engager, educator, and curator
Last summer I was invited by Dixon Place to organize an exhibition of visual art in conjunction with HOT! Festival: NYC’s Celebration of Queer Culture, the world’s pioneering and longest-running LGBTQ Art Festival featuring visual and performance art.
Working with co-curator Beck Feibelman, we organized Visualizing Queerness: 7 Contemporary Artists, bringing together work by seven artists—Ana Benaroya, Zen Browne, Tinker Coalescing, Machine Dazzle, Sara Lautman, André Singleton and King Texas —who sought to represent themselves and their circles with a combination of respect, wit, dignity, defiance, and glamour, defying queer stereotypes and characters. They created beautiful and dynamic images of communities either on or just under the surface, displaying clarity of vision and boldness of expression that are important to the work of making their communities visible and powerful. As they should be.
This year’s exhibition, RALLY: Queer Art and Activism
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A project out University of Michigan that digitized two 19th-century photo albums owned by an African-American woman named Arabella “Bella” Chapman recently went live:
The Arabella Chapman Project brings together students and scholars of African American history and culture to explore the role of visual culture, especially photography, as a critical dimension of the everyday life and politics of black Americans at the end of the nineteenth century.
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In digital francophonie noire:
“The French Revolution Digital Archive emerged from the expressed need by scholars of the French Revolution to gain greater and more flexible access to their sources. The French Revolution itself produced scores of documents by participants, spectators, and critics. These materials include texts of all sorts – legal documents, pamphlet literature, belles lettres, musical compositions, and a rich imagery. Dispersed in libraries and archives, hidden in documental series and in short individual pamphlets, this diverse documentary heritage can now be offered to scholars in a digital format. The French Revolution Digital Archive brings together two foundational sources for research: the Archives parlementaires (hereafter AP) and a vast collection of images selected from the collections of the Bibliothèque nationale de France. Both of these corpora were included in the important “French Revolution Research Collection” produced by the BnF and the Pergamon Press for the bicentennial of the…
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We are pleased to present this exciting short video documentary which was contributed by Tristan Galand. It reflects on the 2014 Jamaica Biennial, which was in its closing week when the footage was shot, and focuses on four artists, Camille Chedda, Sheena Rose, Phillip Thomas and Ebony G. Patterson, who present their reflections on the exhibition. With thanks to Tristan Galand and all who helped to facilitate this production, particularly Nicole Smythe-Johnson.
Black and Cuba director Robin J. Hayes discusses “Socially Engaged Art as a Tool for Social Justice” at UnionDocs Socially Engaged Documentary Art Seminar Sunday June 21, 2015 10:30am 322 Union Avenue, Brooklyn, NY 11211. For filmmakers, artists and cultural producers, the seminar offers vital information about the theory and practice of documentary making with a purpose. Tell them Progressive Pupil sent you and get 20% off conference registration with promocode SEDA15. Learn more at http://www.uniondocs.org/socially-engaged-documentary-art/. Share with a friend who wants to make films for their communities.
ACRAH 