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.
How many things can be blamed on diversity?
Sian Cain’s article in today’s Guardian makes it clear that Marvel VP of Sales David Gabriel’s reasoning isn’t reasoned. Recently, Gabriel told a gathering that some comic store owners say their customers “have had enough” of new female and ethnic minority characters.
Is there a limit to diversity?
Gabriel is not alone in the effort to make diversity appear unprofitable and to present good diversity practices as charitable acts. . .and bad business. Such false beliefs are widespread. Yet, they are counter to research that proves otherwise.
As always, the comments from Guardian readers are worth perusing. There’re more than 1,000 of them to date. These letters provide great fodder for thinking about the power of representation and the shifts in visual culture.
Riri Williams, who took over the Iron Man storyline as Ironheart, on the cover of Invincible Iron Man #1. Photograph: Marvel, posted at The Guardian online
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 […]
via Appalachian Identities and Photography as Social Commentary — Art History Teaching Resources
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 […]
via Muslim in New York: Highlights from the Photography Collection — MCNY Blog: New York Stories
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 is enjoying two one-artist exhibitions in the UK this year. Check out her interview with A-N and her piece in Frieze on her influences. About time!
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).
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.
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.
Quentin Hardy, ” Seeking a Choice of Voices in Conversational Computing,” NY TIMES, Mon., Oct. 10, 2016, B1, B4.
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?
[Voice over American actor Susan Bennett provides the voice of Siri for Apple.]