Divided cities: South Africa’s apartheid legacy photographed by drone

See Johnny Miller’s photos in THE GUARDIAN, Jun. 23, 2016

Unequal scenes offers interpretations of inequality in contemporary South Africa

What does diversity look like?

Photo of Mary Seacole by Maull & Company (c. 1873). Photographer’s name not known. Source: Wikimedia Commons

On top of the Brexit vote, there’s another pitched battle being waged in the UK right now—it’s over a commissioned statue of Mary Seacole (1805-1881), a recognition for her aid and service to the wounded during the Crimean War (1853-1856).

Martin Jennings’s Seacole sculpture is scheduled to be installed at St. Thomas Hospital in London later this month. Opponents say it doesn’t belong at that hallowed site where Florence Nightingale established a nursing school. The opponents double-down when accused of racism by the artist Jennings and other supporters of the monument: Seacole, they claim, wasn’t a nurse nor did she–the child of a free, black Jamaican woman and a white Scottish solider–identify as “black.”

This is a row of great proportions. In the interest of Critical Race Art History, my raised question is “What does diversity look like?”

Amy Fleming, “Sculptor Defends His Mary Seacole Statue–‘If She Was White, Would There Be This Resistance,'” THE GUARDIAN, Jun. 21, 2016

Patrick Vernon, “Rubbishing Mary Seacole Is Another Move to Hide the Contributions of Black People,” THE GUARDIAN, Jun. 21, 2016

Patrick Usborne, “Mary Seacole v. Florence Nightingale: Who Should Have the Taller Statue?” THE GUARDIAN, Jun. 20, 2016

Jonathan Jones, “So Many Causes, So Many Heroes: Why Defame Them with a Statue?” THE GUARDIAN, May 11, 2016

Sandra Gunning’s essay of 2001, “Traveling with Her Mother’s Tastes: The Negotiations of Gender, Race, and Location in WONDERFUL ADVENTURES OF MRS. SEACOLE IN MANY LANDS,” is a serious consideration of Seacole’s life and times.


HIDDEN FIGURES and the genre of “race” film

Taraji P. Henson’s question at the end of this preview feature piece, “Rocket Science, Race and the ’60s,” published in today’s Times is provocative:

“I hate when I do a film, and it has a lot of African-Americans and they call it a black film,” Ms. Henson said. “I don’t wake up and go, ‘Let’s see, this weekend, I’m going to see a Chinese film, I’m going to see a black film, no I’m going to see a while film with a black person in it.’ Who does that?”

(Hmmm, everyone.)

Cara Buckley, “Rocket Science, Race and the 60s: ‘Hidden Figures’ Lifts the Veil on NASA’s Female Scientists” 

Disabled artists use their skills to highlight ‘shoddy and cruel’ treatment over benefits | Society | The Guardian


CFP: “The Gustatory Turn”

Call for Papers: The Gustatory Turn in American Art
AHAA sponsored session at CAA
February 15-18, 2017, New York

Co-chairs: Guy Jordan, Western Kentucky University and Shana Klein, National Museum of American History

The rapid emergence of food studies programs, food studies journals, and museum exhibitions devoted to food reveals how the role of taste and digestion in American art has become a vibrant topic of study. This session examines the relationships between ocular and gastronomic delectation and visual consumption in paintings, prints, cookbooks, dietary manuals, and other forms of media that represent food and drink. This panel specifically invites papers that consider how artists used formal techniques to elicit pleasure or disgust in images of food and drink and how viewers responded to the sweet or unsavory qualities of an image. Paper proposals might also consider how images of food and drink interact with the social conventions of eating, dining, and consuming in their respective time periods. Proposals that evaluate the mechanics of taste and the ways in which these mechanics engage with political life and discourses of identity (i.e. race, class, and gender) are also welcome. The goal of this panel is to showcase scholarship that complements and advances the gustatory turn in American art.

Please send a one-page abstract and short c.v. by Monday, April 4 to Guy Jordan (guydjordan@gmail.com) and Shana Klein (Shana.Klein@gmail.com).

The Met’s New Outpost & What All Artists Want. . .

…pace Kerry James Marshall


Randy Kennedy, “Introducing Art’s Past to Its Future”

REV: Kienholz’s Five Car Stud — anti-racism, 1969

Here’s the correct link:

Kienholz on view in London

On Five Car Stud by Ed Kienhilz

Review of Kienholz’s work, including the important anti-racist installation of 1969-72,
Five-Car Stud

Another Olympia

Luxembourg performance artist Deborah de Robertis’ in dialogue with Manet:

Artist arrested for posing nude in front of Musee d’Orsay’s Olympia (1863) by Edouard Manet

EXH: “Circle of Friends” exhibition opening Jan. 23, 2016, Washington, DC

Circle of Friends



WELLMAN exh_2016-page-001



Alper Initiative for Washington Art at American Museum



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