We are pleased to present this exciting short video documentary which was contributed by Tristan Galand. It reflects on the 2014 Jamaica Biennial, which was in its closing week when the footage was shot, and focuses on four artists, Camille Chedda, Sheena Rose, Phillip Thomas and Ebony G. Patterson, who present their reflections on the exhibition. With thanks to Tristan Galand and all who helped to facilitate this production, particularly Nicole Smythe-Johnson.
The Grapevine
Can a Documentary Change the World?
Black and Cuba director Robin J. Hayes discusses “Socially Engaged Art as a Tool for Social Justice” at UnionDocs Socially Engaged Documentary Art Seminar Sunday June 21, 2015 10:30am 322 Union Avenue, Brooklyn, NY 11211. For filmmakers, artists and cultural producers, the seminar offers vital information about the theory and practice of documentary making with a purpose. Tell them Progressive Pupil sent you and get 20% off conference registration with promocode SEDA15. Learn more at http://www.uniondocs.org/socially-engaged-documentary-art/. Share with a friend who wants to make films for their communities.
Final Update: Culture and Resistance: Civil Rights Photography – Memphis 1968
CFP: Art, Race, and Christianity @ CAA 2016
Call for Papers: Art, Race, and Christianity
Affiliated Society: Association for Critical Race Art History
Phoebe Wolfskill, Indiana University, pwolfski@indiana.edu and James Romaine, Nyack College, drjamesromaine@gmail.com
College Art Association Annual Conference, February 3-6, 2016, Washington, DC
Session Description: Since its arrival in the Americas, Christianity has been inextricably linked to issues of racial identity. The religious foundations of the European immigrants who colonized the New World diverged from the practices of indigenous and uprooted African populations, often resulting in a conflict of spiritual identities, a struggle that frequently found its place in artistic expression. This panel seeks papers focusing on the relationship between race and faith in North American and Caribbean art created from the nineteenth century to the present. How does art function as a site in which intersecting racial and religious tensions have been expressed, debated, or potentially resolved? How does an artist (or community of artists) negotiate an identity that is situated between or within racial and religious identities? In what ways does racial identity or racial difference influence depictions of Christian subjects and themes? What specific contexts allowed for or required the negotiation of racial identity and Christian subjects? We welcome broad conceptions of race and a range of media for exploration.
Session participants must be a member of CAA.
Every proposal should include the following five items:
1. Completed session participation proposal form, located at the end of the pdf http://www.collegeart.org/pdf/2016CallforParticipation.pdf or an email with this information.
2. Preliminary abstract of one to two double-spaced, typed pages.
3. Letter explaining speaker’s interest, expertise in the topic, and CAA membership status.
4. CV with home and office mailing addresses, email address, and phone and fax numbers. Include summer address and telephone number, if applicable.
5. Documentation of work when appropriate, especially for sessions in which artists might discuss their own work.
Please send proposals to:
Phoebe Wolfskill, Indiana University, pwolfski@indiana.edu and James Romaine, Nyack College, drjamesromaine@gmail.com
DEADLINE: May 8, 2015
CFP: AFROTOPES @ CAA 2016
*AFROTROPES*
*College Art Association 104th Annual Conference*
*Washington DC, February 3-6, 2016*
Huey Copeland and Krista Thompson, Northwestern University
*Submissions due to h-copeland@northwestern.edu and krista-thompson@northwestern.edu by **May 8, 2015. Visit **http://www.collegeart.org/pdf/2016CallforParticipation.pdf * *for CAA submission guidelines, requirements, and forms*.
This conference session centers on the aesthetic, historical, and theoretical terrain opened up by the “afrotrope.” We coined this neologism as a way of referring to those recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity in the modern era, from the slave ship icon produced in 1788 by the Society for Effecting the Abolition of the Slave Trade to the “I *AM* A MAN” signs famously held up by striking Memphis sanitation workers in 1968.
As their rich afterlives make clear, afrotropes resonate widely long after their initial appearance. For instance, the “I *AM* A MAN” sign has served as the basis for a 1988 painting by Glenn Ligon, a sandwich board worn by Sharon Hayes during a 2005 New York street performance, and a poster wielded by protesters in Benghazi during the Arab Spring. Accordingly, our conceptualization of the afrotrope emphasizes how changes to cultural forms over time and space speak to the ways that touchstones of African diasporic history, subjectivity, and modes of resistance are produced and consumed globally by a range of actors for a variety of ends.
By homing in on the material transformation of specific afrotropes over several iterations, we hope to reframe approaches to the ways that modes of cultural exchange come to structure representational possibilities. While our theorization of the afrotrope is indebted to Mikhail Bakhtin’s notion of the chronotope and Henry Louis Gates Jr.’s writing on black figurative turns, we also look toward the work of art historians such as T.J. Clark, George Kubler, and Christopher Wood in elaborating new models for thinking temporality, authorship, and transmission that the afrotrope at once instances and demands.
Indeed, we would argue that the afrotrope makes palpable how modern subjects have appropriated widely available representational means only to undo their formal contours and to break apart their significatory logic. At the same time, the concept enables a fresh consideration of what is repressed or absented within the visual archive. The afrotrope, in other words, offers a vital heuristic through which to understand how visual motifs take on flesh over time and to reckon with that which remains unknown or cast out of the visual field. Ultimately, the aim of our session is not only to identify key afrotropes—with an eye toward producing an edited user’s guide to these forms—but also to theorize how their transmission illuminates the visual technologies of modern cultural formation.
The Dark Room is coming…to Wellesley College on Saturday, April 11
THIRD EXPOSURE~THE DARK ROOM: RACE & VISUAL 3RD ANNUAL SYMPOSIUM on Saturday, April 11 at Wellesley College. Free and Open to the Public. See below for the full schedule.
The Dark Room: Race and Visual Culture Studies Seminar is an extended conversation concerning the intersection of critical race theory and visual culture studies. With over 40 members from 24 North American colleges and universities, we are a group of regional and institutional variety, made up of several different disciplines and departments and different professional ranks. We meet once a month during the academic year to consider the import of recent published works heavily invested in the interstices of visualities rendered through the lens of race and empire. Third Exposure is just that, our third foray into a collective intellectual engagement of this kind. #3rdExp
Email: raceandvisualcultureseminar@gmail.com | Twitter: @raceandvisual
Program Schedule
8:30 Registration Collins Cinema
9:00
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CFP for College Art Association session (2016, Washington, DC)- Due May 8, 2015
AFROTROPES
College Art Association 104th Annual Conference
Washington DC, February 3–6, 2016
Huey Copeland and Krista Thompson, Northwestern University
Submissions due to h-copeland@northwestern.edu and krista-thompson@northwestern.edu by May 8, 2015. Visit http://www.collegeart.org/pdf/2016CallforParticipation.pdf for CAA submission guidelines, requirements, and forms.
This conference session centers on the aesthetic, historical, and theoretical terrain opened up by the “afrotrope.” We coined this neologism as a way of referring to those recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity in the modern era, from the slave ship icon produced in 1788 by the Society for Effecting the Abolition of the Slave Trade to the “I AM A MAN” signs famously held up by striking Memphis sanitation workers in 1968.
As their rich afterlives make clear, afrotropes resonate widely long after their initial appearance. For instance, the “IAM A MAN” sign has served as the basis for a 1988 painting by Glenn Ligon, a sandwich board worn by Sharon Hayes during a 2005 New York street performance, and a poster wielded by protesters in Benghazi during the Arab Spring. Accordingly, our conceptualization of the afrotrope emphasizes how changes to cultural forms over time and space speak to the ways that touchstones of African diasporic history, subjectivity, and modes of resistance are produced and consumed globally by a range of actors for a variety of ends.
By homing in on the material transformation of specific afrotropes over several iterations, we hope to reframe approaches to the ways that modes of cultural exchange come to structure representational possibilities. While our theorization of the afrotrope is indebted to Mikhail Bakhtin’s notion of the chronotope and Henry Louis Gates Jr.’s writing on black figurative turns, we also look toward the work of art historians such as T.J. Clark, George Kubler, and Christopher Wood in elaborating new models for thinking temporality, authorship, and transmission that the afrotrope at once instances and demands.
Indeed, we would argue that the afrotrope makes palpable how modern subjects have appropriated widely available representational means only to undo their formal contours and to break apart their significatory logic. At the same time, the concept enables a fresh consideration of what is repressed or absented within the visual archive. The afrotrope, in other words, offers a vital heuristic through which to understand how visual motifs take on flesh over time and to reckon with that which remains unknown or cast out of the visual field. Ultimately, the aim of our session is not only to identify key afrotropes—with an eye toward producing an edited user’s guide to these forms—but also to theorize how their transmission illuminates the visual technologies of modern cultural formation.
“The Black Atlantic and Northern Britain” – a symposium (Apr. 30-May 1, 2015)
Design/Race 3.31.15
Flyer Design by Doug Akagi, CCA Professor Emeritus and Design Department Advisor
This panel discussion will take place at the California College of the Arts, 101 Carolina Street, San Francisco, CA, on Tuesday, March 31, 2015, 8:30-10 AM. It is free and open to the public.
Designers will talk about how identity influences their work and the importance of building community both at CCA and beyond. Moderated by Lionel Ramazzini (BFA Industrial Design 2014), panelists will include a mix of alumni and other leaders in design with an opportunity for Q&A. Panelists will include Agelio Batle (MFA 1993) of Batle Studio, Maricarmen Sierra (DMBA 2013) of Metapattern, Mateo Hao (BFA Furniture 2013), and others.
Breakfast provided, networking encouraged.
RSVP by March 25, 2015 at alumni@cca.edu
https://www.cca.edu/calendar/2015/designrace-conversation
Sponsored by the CCA Alumni Association and the CCA President’s Diversity Steering Group, with support from the CCA Faculty of Color Research Alliance
ACRAH 