Horace Baker (engraver), “Across the Continent—The Frank Leslie Transcontinental Excursion,” published in Frank Leslie’s Illustrated Newspapers, Apr. 27, 1878, page 129, at Online Archives of California.
Caption also reads “Rounding Cape Horn at the head of the great American Canyon with a view of the South Fork of the American River, where gold was first discovered in 1848. Chinese laborers.”
Panelists Sue Lee (Chinese Historical Society of America), Hilton Obenzinger (Stanford University’s Chinese Railroad Worker’s in North America Project), Paulette Liang (a descendant of a Chinese person who worked on the railroad) and James Zarsadiaz (USF) meet to discuss “Reconstructing History, Reconstructing Lives: Chinese Laborers and the Building of the Transcontinental Railroad” at USF’s Gleeson Library tomorrow.
The event is free and open to the public.
The 2015 inaugural exhibition of the new Whitney Museum of American Art, America Is Hard to See, charted a largely unconventional history of modern American art built around issues that have galvanized United States artists, pressing them into often uncomfortable relationships with challenging political and social contexts, including the history of slavery, labor unrest and the Vietnam War–and effectively underscoring the point that American is hard to see.
In recent years, scores of museum exhibitions, books and catalogues have worked to reimagine the field among these lines, telling the history of United States art in all of its multilayered, messy complexity. It is not common to find major shows of previously suppressed African-American and Latinx artists as well as scholarly studies of forgotten women and LGBTQ artists. Yet in an era of unprecedented economic inequality, Black Lives Matter, the rise of the alternative right, and anti-immigration reform, there remains much to be done.
This panel seeks to address where American art history from colonial times to the present sits in our twenty-first century classrooms, galleries, museums, blogs and journals–and, more importantly, what directions we might pursue for its future growth. We welcome papers representing all historical periods in American art as well as new avenues of research and methodological inquiry.
Please send a one-page abstract and short c.v. by March 15, 2017, to firstname.lastname@example.org
AHAA seeks to included new voices, and we encourage younger scholars to make submissions. Chairs and panelists of AHAA-sponsored sessions must be current members of AHAA and CAA.
Casa de las Américas (Havana, Cuba) will be the site for a meeting (Oct. 16-20, 2017) focused on the theme “Socialization of Latinos in the United States: Education, Religion and Mass Media.”
The meeting intends to produce a thorough debate regarding the socialization processes that influence the relationships between migrants and their children in American society.
Participants will reflect on the perspectives Latinos in the United States as social subjects immersed in new socialization spaces that create formal educational processes that constitute breakpoints in the establishment of American society while being at the same time participants of informal processes that are substantiated by other socializing agents such as religions and their institutions; and the media and social networks on the Internet. Music and sports are areas that we also want to highlight in order to make them objects of analysis.
The Colloquium, consistent with the goals of previous meetings, will create a space of action with the presence of people of Latin American and Caribbean origins who are linked to the arts, literature and social sciences and humanities.
The following are proposed as central themes:
In addition, one of the working sessions will be dedicated to discussion of the history of Cuban emigration to the United States, the insertion of Cubans and Cuban Americans in the Latino communities, and the influence of the new scenarios in Cuba-U.S. relations. Furthermore, tribute will be paid to the life and work of the Cuban artist Ana Mendieta.
ABSTRACTS AND PAPERS
Scholars interested in taking part in the Colloquium may submit individual papers or panels. In either case, the following guidelines should be followed:
To facilitate your transfer and stay in Cuba, please contact your travel agent or:
CASA DE LAS AMÉRICAS
3a y G, El Vedado, La Habana, 10 400, Cuba,
Telephone: (537) 838-2706/09, ext. 129. Fax: (537) 834-4554
Portrait of Cheryl Dunye (https://apps.chss.sfsu.edu/newsletters/thewatermelonwoman/index.html)
Black/Feminist/Lesbian/Queer/Trans* Cultural Production: A Symposium Honoring the 20th Anniversary of Cheryl Dunye’s “The Watermelon Woman”
This symposium honors the 20th anniversary of Cheryl Dunye’s film, “The Watermelon Woman” (1996). The first feature film directed by and starring a black lesbian, the production of this film marked a watershed moment for black cinema, feminist cinema, lesbian cinema, and new queer cinema. Appearing in the heyday of what filmmaker and scholar Yvonne Welbon has called the “golden age” of black queer cinema, the film garnered widespread critical acclaim, and its success inspired many black lesbians to create their own films in the years following. Her latest release, “Black is Blue” (2014) is a critically acclaimed narrative short film that follows the life of a black transgender man in Oakland, California. Dunye continues to break ground through complex filmic representations of the intersections of race, gender, and sexuality. Thus, this conference honors Dunye’s growing body of work, as well as her cultural legacy.
Dee Rees will be in conversation with Cheryl Dunye on Fri., Sept. 23, 2016 @7 p.m. Pacific Time at McKenna Theatre, Creative Arts Building, SFSU.
The Conference, sponsored by The College of Health and Social Sciences, Center for Research and Education on Gender and Sexuality, Dean of the College of Health and Social Sciences, Dean of the College of Creative and Liberal Arts, Jamie and Phyllis Pasker Funds, Queer Cinema Institute at San Francisco State University, Watermelon Woman 3.0, and Black Sexual Economies Working Group (Washington University-St. Louis), is free and open to the public.
For more information on the symposium, please go to: Watermelon Woman Anniversary Symposium
On Cheryl Dunye’s Watermelon Woman: The Watermelon Woman
On Dee Rees, see: Dee Rees at IMDB.COM
Photo of Makeda D. Best, Ph.D.(www.bampfa.org)
When Sojourner Truth declared that she sold the “shadow” (photographic portraits of herself) to support the “substance” (the causes of abolition and the rights of women), she recognized the power of images to shape opinion and create economic value. How did the former slave strategically deploy and circulate photography as a form of political activism? Join a conversation with UC Berkeley professors Darcy Grimaldo Grigsby (History of Art) and Leigh Raiford (African American Studies) and photographer/photography historian Makeda Best of the California College of the Arts on the uses to which photography has been put in the African American struggle for political change.
Darcy Grimaldo Grigsby is the Richard and Rhoda Goldman Distinguished Professor in the Arts and Humanities at UC Berkeley. Grigsby specializes in eighteenth- through early twentieth-century French and American art and visual and material culture, particularly in relation to the politics of race, slavery, and colonialism. She is the author of three books: Extremities: Painting Empire in Post-Revolutionary France (2002); Colossal: Engineering the Suez Canal, Statue of Liberty, Eiffel Tower and Panama Canal(2012); and Enduring Truths: Sojourner’s Shadows and Substance(2015).
Leigh Raiford is associate professor of African American Studies at UC Berkeley. She is the author of Imprisoned in a Luminous Glare: Photography and the African American Freedom Struggle (2011).
Makeda Best, assistant professor in Visual Studies at the California College of the Arts, is an historian of photography. She is currently revising a book on the Civil War–era photographer Alexander Gardner, and coediting a volume titled Conflict, Identity and Protest in American Art.
The Panthers, in more ways than one, sought to visualize racial identity. Their model continues to inform new movements across the globe.
Revolutionary Art (circa 1969) by Emory Douglas, Black Panther Minister of Culture, Oakland, CA.