How Ya Like Me Now?


Last week The Guardian reported on this ridiculously dumb blunder (a euphemism for what it really was).

Richard Dyer, more than twenty years ago, wrote about the position of whiteness as the norm, and this incident reminds us that theories trickle down at variable rates.

Hard not to think of David Hammons’ bitingly incisive  How Ya Like Me Now? (1988), a piece that generated its own complicated response. As is the case with so many Hammons’ projects, How Ya Like Me Now?  seems to speak to our moment, too.


New ACRAH website feature!

The Association of Critical Race Art History (ACRAH) is excited to announce a new feature on our website: a bibliographic resource devoted to issues of race, ethnicity, art, and visual culture. Please visit Bibliographies to view.

In conjunction with the launch of this resource, a series of reading groups are being organized in New York, the Bay Area, Washington D.C., and Boston. The primary purpose of these groups are to give area scholars an opportunity to discuss key texts pertaining to the visualization and representation of races and the project of racialization in art and visual culture. If you are interested in participating in an established group, or would like to start a group in your area, please visit Reading Groups for additional information.





DIGITAL: First Blacks in the Americas: The African Presence in The Dominican Republic — African Diaspora, Ph.D.

New Digital Project: First Blacks in the Americas:

via DIGITAL: First Blacks in the Americas: The African Presence in The Dominican Republic — African Diaspora, Ph.D.

Live: Conversations about Race at Stanford

Tomorrow (Nov. 19, 2015) starts at 12:30 PM Pacific

The first half of the symposium will feature a conversation from 12:30 to 2 pm PST about Policing, Mass Incarceration & Racial Justice with Mychal Denzel Smith (The Nation), Rinku Sen (Colorlines), Isabel Garcia (Derechos Humanos) and Reverend Osagyefo Sekou (Fellowship of Reconciliation & King Research and Education Institute). Moderated by H. Samy Alim.

The second half of the symposium will feature a conversation from 2:30 to 4 pm PST about The Arts, Racial Justice & Cultural Equity with Favianna Rodriguez (CultureStr/ke), Jasiri X (1Hood), Jonathan Calm (Stanford Department of Art & Art History), Deborah Cullinan (Yerba Buena Center for The Arts), and Rita Gonzalez (Los Angeles County Museum of Art). Moderated by Jeff Chang.
Here’s the URL again:

Call for Submissions: Mirror of Race

Mirror of Race ( is seeking submissions of artwork and essays for online publication.

The goal of MoR is to explore ideas about race in the United States through personal and critical reflections on early photography. The editorial board encourages submissions from artists, writers, educators, curators, and scholars that engage with the photographs in the MoR online exhibition, that situate images within their historical contexts, and that can inspire visitors to the website to reexamine their own ways of seeing race. MoR aims to address the general public as well as instructors and students at all educational levels.

Submissions to MoR are peer reviewed by members of the editorial board and external readers. A list of suggested formats and topics can be found on the MoR website. Essays should adhere to the standards of excellence in the author’s field, but they should be written in accessible language for the MoR’s broad audience. They may address any aspect of race, including contemporary topics, but must engage in some way with the images in the MoR online exhibition. Artwork may include original photographs, paintings, poetry, storytelling, and other creative forms that can be exhibited online. Artists should provide a narrative explaining the relationship between their work and the images and themes featured on the MoR website.

For more information please contact Gregory Fried, Mirror of Race Project Director,


WEB: Visual Culture of the American Civil War


New website:

The historical record of the American Civil War includes a vast amount of visual material—photographs, illustrated news periodicals, comic publications, individually-published prints, almanacs, political cartoons, illustrated envelopes, trade cards, greeting cards, sheet music covers, money, and more. The era’s visual media heralded an unprecedented change in the production and availability of pictorial media in everyday life and an innovation in the documentation of warfare. In the last decade, a remarkable amount of these materials, previously confined to libraries, historical societies, and museums, has become available on the Web, and in the last generation drawn the attention of humanities scholars.

In July 2012 the American Social History Project held a National Endowment for the Humanities Summer Institute on The Visual Culture of the Civil War. For two weeks, thirty college and university teachers from across the United States explored the array of visual media that recorded and disseminated information…

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