In Memoriam: Dr Donna McFarlane O.D.

National Gallery of Jamaica Blog

Dr Donna McFarlane O.D.

The National Gallery of Jamaica was deeply saddened by news of the passing of our colleague, the scholar, curator and activist, Dr Donna McFarlane O.D. last week.

A true visionary, Dr McFarlane was the first Director/ Curator of our sister museum Liberty Hall: Legacy of Marcus Garvey. In Garvey’s time, the Liberty Hall was a meeting place for the Universal Negro Improvement Association and African Communities League (UNIA-ACL). The property hosted a range of cultural and intellectual programmes in its heyday. Eventually the property left UNIA hands and was owned by several individuals until it was purchased by the Government of Jamaica, through the Heritage Trust and declared a National Monument in 1987.  Always a passionate advocate for civil rights and African and Diasporic empowerment; Dr McFarlane had returned to Jamaica after completing her Bachelor’s Degree in Political Science and Masters in Developmental Economics. She…

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DIGITAL/SOURCE: Katz and Nyong’o Exhibit on Mary Jones and Print Culture | Outhistory

#ADPhD

Jonathan Ned Katz and Tavia Nyong’o analyze the print material generated by the case of Mary Jones/Peter Sewally:

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A.I.-Generated Images and the Play to Diversity

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From the NYTimes online site, accessed Jan. 3, 2018

 

The headline in the online version of a Jan. 2 NY Times story is an interesting twist from the way the same article is presented in the today’s print issue: the latter, which cites the byline of Cady Metz, “She Could Be a Star, if She Existed.” (The online version’s header is “How and A.I. ‘Cat-and-Mouse Game’ Generates Believable Fake Photos.”)

There’s certainly a lot going on here: for visual studies scholars and art historians, A.I. research that converts “images of horses into zebras and Monets into Van Goghs” is another visual turn, one that exceeds the predictions of Benjamin and Malraux. Then, there’s the interest in “truth” versus “falsity” as scientists develop generative adversarial networks that can “generate faux images and doctor the real thing” by putting words in the mouths of videoed speakers.

One scientist’s assessment of current research made me think about the ways in which bodily statements, representations, and recognitions are patterning strategies that animals rely on; we humans read race and other differentiating traits based on groupings to construct homogeneity and heterogeneity. Durk Kingma, whose work is funded by Tesla’s Elon Musk, is excited about the Finnish commuter chip maker Nvidia’s breakthrough technology. Kingma’s published remark: “We now have a model that can generate faces that are most diverse and in some ways more realistic than what we can program by hand.” Nvidia’s maximizing and extending diversity beyond what is experienced in everyday life is a viewed as a public good.

The marketing of diversity is not only significant because it demonstrates that paragon appearance–at least right now–is kinda Jennifer Aniston-y, kinda Selena Gomez-y.  It’s also that “diversity” can be produced on the surface. These efforts are designed to desegregate representational fields and to integrate different bodies into them. What is produced is the look of diversity, fairness, equity, and justness. As Machiavelli wrote, appearance is more important than reality.

Discussions of visuality are more necessary than ever.

 

 

 

 

 

 

 

Job Opportunity: Curator of Painting and Sculpture, Smith College Museum of Art (Northampton, Mass.) — Apply now

Position Summary:

PRIMARY FUNCTION(S):   Oversee, steward, and develop SCMA’s collection of American and European paintings and sculpture made before 1950.

 

DUTIES AND RESPONSIBILITIES:

Serve as an intellectual authority on, and assume a full range of curatorial responsibilities for, the Museum’s activities related to paintings and sculpture made before 1950. Responsible for the installation, interpretation, documentation, and growth of the collection of paintings and sculpture; proposing and executing temporary exhibitions as well as serving as an in-house curator for traveling exhibitions from other institutions; initiating research on acquisitions, loans, and the permanent collection; fielding public inquiries; representing the department on Museum and College committees.

Work within a team environment, and supervise project-based research assistants and student interns.  Promote dialogue, engagement, and collaboration both within the Museum and beyond.  Work with SCMA’s senior leadership to cultivate prospective donors, foundations, and related entities to support the activities of the department as well as the growth of the collections.

MINIMUM QUALIFICATIONS:

Education/Experience: Master’s degree in art history or a closely related field plus a minimum of three years of collection-based curatorial experience or an equivalent combination of education/experience; Ph.D. in art history preferred.

Skills: Independent and self-directed, with the ability to take initiative, anticipate actions needed, and to exercise discretion and independent judgment. Excellent interpersonal and organizational skills. Demonstrated ability to be an effective collaborator both within the Museum and the larger College community.  Demonstrated ability to communicate effectively to diverse audiences. Proven record of scholarly research and knowledge of the history of European or American paintings and sculpture 1800 to 1950. Demonstrated ability to manage multiple tasks, set priorities, and meet deadlines

Additional Information.

Smith College is an EO/AA/Vet/Disability Employer

Job Details
Title: AD0091 – Curator of Paintings and Sculpture
Department: Museum of Art
Job Category: Staff
Position Control: AD0091
Grade: H
Position Category: Regular
Internal/External Position Type: Administrative
FLSA: Exempt

Apply here.

2017 Terra Publication Grant Applications due Sept. 15

Letters of Inquiry for Terra Foundation for American Art International Publication Grants are due September 15.

The Terra Foundation for American Art International Publication Grant supports book-length scholarly manuscripts in the history of American art, visual studies, and related subjects that are under contract with a publisher. For this grant program, “American art” is defined as art (circa 1500–1980) of what is now the geographic United States. Awards of up to $15,000 will be made in three distinct categories:

  • Grants to US publishers for manuscripts considering American art in an international context
  • Grants to non-US publishers for manuscripts on topics in American art
  • Grants for the translation of books on topics in American art to or from English.

Applicants must submit a letter of inquiry by September 15, 2017. The deadline for the receipt of completed applications is December 15, 2017.

For more information, please visit the College Art Association website, where you will find application guidelines and the application process, schedule, and checklist, or contact CAA Editorial Manager Sarah Zabrodski at szabrodski@collegeart.org or +1 212-392-4424.
Marsden Hartley, Painting No. 501914–15. Terra Foundation for American Art, Daniel J. Terra Collection, 1999.61

TERRA FOUNDATION FOR AMERICAN ART

120 East Erie Street, Chicago, IL 60611 USA   +1 312 664 3939
121 rue de Lille, 75007 Paris, France   +33 1 43 20 67 01

 

The Mug Shot—–Tool of the Ideology of Difference

 

 

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Cesare Lombroso, “Epileptics,” from L’homme Criminel (Paris, 1887), photo here.

After reading an article in which the ideas of Cesare Lombardo, aka “The Father of Criminology,” were used to shape anti-Italian US immigration policies in the 1920s, I found that the mug shot is back. It’s not just Tiger Woods’. Check out: “Innocent Until Your Mug Shot Is on the Internet.”

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Image by Alex Tatusian/The Marshall Project from NY Times, 6/3/2017.

Exhibition in a Box/ Autograph ABP

THE MISSING CHAPTER:  BLACK CHRONICLES/EXHIBITION IN A BOX

The Exhibition In A Box provides a photography pop-up archive exhibition display and versatile learning tool-kit, intended for use across a diverse range of spaces, including community centres, schools, colleges, public libraries and other resources such as local archives.

 

Designed to facilitate engagement programmes to promote cultural diversity through photography, the Exhibition In A Box comprises thirty remarkable A3 image panels produced from rare 19TH century photographs portraying people of African, Caribbean and South Asian descent during the Victorian era in Britain. It comes complete with a set of promotional postcards, information leaflets featuring presentation instructions and adhesive pads, making it ready for installation and fully reusable.

The Exhibition In A Box is a free limited edition resource available from Autograph ABP on application. If you are interested in acquiring one please contact ali@autograph-abp.co.uk to request a copy.

Part of The Missing Chapter programme, supported by Heritage Lottery Fund. Developed in association with and the generous support of the Hulton Archive, a division of Getty Images.

Contents of box

  • Thirty A3 Image Panels
  • Two A3 Text Panels
  • Thirty promotional Postcards
  • Two hundred adhesive Foam Pads
  • Two copies of an Illustrated Leaflet

 

Aims and Objectives

The Exhibition In A Box is specially designed for users to facilitate engagement programmes to promote cultural diversity through photography by:

Enabling organisers and participants to independently curate their own pop-up exhibition, using all or selected images from Autograph ABP’s acclaimed The Missing Chapter research portfolio.

Providing teachers, tutors and facilitators with a powerful, cross-curricular learning tool-kit supporting formal and informal discussions in classrooms or other facilitated group sessions.

Allowing unique archival photography to be re-used, preserved and presented

multiple times in different settings for a wide range of learning and display needs.

The Photographic Portraits  in The Missing Chapter: Black Chronicles offer a unique snapshot of black lives and migrant experiences during the decades following the birth of photography in 1839.  They represent a diverse range of people, from visiting performers, politicians, dignitaries, servicemen and women, royalty and missionaries, to known personalities and many as yet unidentified individuals living and working in Britain at the time. Their collective presence bears direct witness to the nation’s colonial and imperial history, and the expansion of the British Empire during the nineteenth and early twentieth century.

These portraits highlight an important and complex black presence in Britain before 1948, a watershed moment often cited as the beginning of the emergence of a multicultural modern British society after the SS Empire Windrush brought the first large group of West Indian migrants to Britain. Produced in commercial studios during the latter half of the nineteenth century, many lay buried deep within the archives for decades – unseen for more than 125 years.

Cross curriculum links and themes include, but are not limited to, subject areas including Art & Design, Photography, Media Studies, History, English, Geography, Sociology or Citizenship as well as key themes and study skills including Migration, Identity and Cultural Diversity, (Visual) Literacy, Critical Analysis, Research and Representation.

The collections represented include the Hulton Archive (a division of Getty Images), National Portrait Gallery, Royal Collection Trust as well as the private collections of Val Wilmer, Michael Graham-Stuart, Amoret Tanner/FotoLibra, Paul Frecker/The Library of Nineteenth-Century Photography, and the photographic archive of Autograph ABP, London.

PhD Opportunity at the Institute for Black Atlantic Research (UK) — Applications Due Feb. 28, 2017

Screen Shot 2017-02-13 at 2.55.10 PM.pngUndated photo of Stuart Hall, at IBAR

Applications are invited for a full time PhD (via MPhil) studentship in the School of Humanities and Social Sciences in the Institute for Black Atlantic Research. The studentship is tenable for up to 3 years full-time [subject to satisfactory progress] and will cover the cost of tuition fees at UK/EU rates and a maintenance grant of £7750. International applicants may apply but will be required to pay the difference in tuition fees. The studentship is funded through the Stuart Hall Foundation.

Supervisory team to include Professor Lubaina Himid & Professor Alan Rice.

Project Description

This project will investigate the consequences for artistic process of the Black presence in Northern Britain. It will first research the histories of slavery and migration and historic, cultural and theoretical responses to them in the context of Black Atlantic Cultural Studies before undertaking a creative practice project to make new work looking at either the historical or contemporary manifestations of Black culture in the North. It takes as its starting point the idea that there is an inherent metropolitan and London-centric bias in the discussion of Black culture in Britain and will itself undertake original research and creative practice that works to highlight hitherto neglected and forgotten cultural histories and practices. The project will consist of the creative practice itself and a theoretically and academically informed written up justification of the practice.

Candidates should have (or expect to hold) a UK Bachelor of Arts degree at 2:1 or above in a related area (or equivalent qualification), or a Masters level qualification.

International applicants require an English Language level of UKVI IELTs 6.5 (no sub-score below 6.0) or equivalent qualification.

Further information

For an informal discussion about the project please contact Professor Alan Rice email: arice@uclan.ac.uk

For the application form and full details please visit http://www.uclan.ac.uk/research/study/studentships.php and download an application pack. This will be available during the week beginning 13th February.

Completed application forms should be returned to the Research Student Registry email researchadmissions@uclan.ac.uk

Closing Date: 28 February 2017

Proposed Interview Date: 13 March 2017

 

The Great Man in “Patriots Day”

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I’ve been interested in response to Patriots Day, which I’ve not yet seen. Separate from the New York Times review by Glenn Kenny, a feature penned by the Times’ New England Bureau Chief Katharine Q. Seeyle offers the sense that Bostonians have their criticisms of the movie. Among them is the composite character played by Mark Wahlberg. To me, this popular response registers as a critique of the Great Man theory, a notion that’s been under scrutiny in Europe and North America since the nineteenth century.

Wahlberg’s image is being used to promote Patriots Day and this conceptual image is as well. The latter deserves more study than I can give it here. But, as we start a new academic semester this week and next, maybe this ad would be a good one to give to students of visual cultural studies.

John W. Mosley’s Mid-20th Century Photos of Black Philadelphia 

Check out @hyperallergic’s Tweet: https://twitter.com/hyperallergic/status/813744006114971648?s=09