I teach art history and art appreciation in the Department of Art and Design at Morehead State University in eastern Kentucky. Most of my students are first-generation college students, and many of them come from the economically-depressed counties within a short driving distance of my institution. Through in-class discussion and office hour chats, I have […]
Muslims have been woven into the fabric of New York since the city’s origins as New Amsterdam, and the Museum is happy to share highlights from our collection which shed light on this deep history in our current exhibition, Muslim in New York. The size and diversity of New York’s Muslim community has continued to […]
The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park is proud to announce its spring exhibition, Shifting: African American Women Artists and the Power of Their Gaze. The exhibition, organized by the Driskell Center, is curated by the David C. Driskell Center’s Executive Director, Professor Curlee R. Holton, assisted by Deputy Director, Dorit Yaron. The exhibition will be on display at the Driskell Center from Thursday, March 2, 2017 through Friday, May 26, 2017, with an opening reception on Thursday, March 2nd, from 5-7PM.
Lubaina Himid, The Rapid Effects of Abolition, from the Swallow Hard: The Lancaster Dinner Service series (2007), an assortment of overpainted plates, bowls and terrines at A-N.
Lubaina Himid’s grandmother, MaShulan, photographed in Zanzibar in 1954, and reproduced as a poster for the exhibition ‘New Robes for MaShulan – Lubaina Himid, Work Past and Present’, Rochdale Art Gallery, 1987. Courtest: the artist at Frieze
Last week The Guardian reported on this ridiculously dumb blunder (a euphemism for what it really was).
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.
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.
Check out @hyperallergic’s Tweet: https://twitter.com/hyperallergic/status/813744006114971648?s=09
Cultures and ethnicities are represented–visually, orally, and in other ways as well.
Joseph Beuys proposed that speech is sculptural, and certainly, we do perceive the body “behind” the words that form them.
Asked the question “What can I do for you?” what image is formed in our minds?
Photo by Chris Arnade from The Guardian
Chris Arnade‘s piece in today’s Guardian is interesting for what this New York-based photojournalist writes and who he photographs in Prestonsburg, Kentucky. In a town that proclaims its ethno-racial homogeneity–an adjective often summoned to characterize Iceland and Japan–and its socio-economic ethos as well, we have to wonder who wasn’t interviewed, photographed, or seen. Who doesn’t make it into the final account?
Who owns the Hardee’s franchise, the now-closed mine, and the strip mall? Where do these proprietors live and where do their children go to school? How do they identify socially, ethnically, racially, and class-wise? How do they look and how do they present their looks? The Petersboro resident quoted in the story’s last paragraphy seems confident in knowing how he and his neighbors will be presented.
Arnade’s essay and its photos prompt me to think about “then-and-now” issues: they follow on the heels of my visit to a University of San Francisco colleague’s “Black US Cinema” class last night. She screened The Blood of Jesus and Within Our Gates for her students. We had a good discussion that touched on Doris Ulmann’s photos of the rural South and Appalachia, Cabin in the Sky, and The Green Pastures. Has the lens trained on rural America changed much since the first half of the twentieth century?