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.
A border is, at its core, a mechanism to produce and enforce difference–national, ethnic, racial, and social:
We Against the Wall — exhibition Southern Exposure gallery (San Francisco)
Bhaumik’s work is social practice that embraces the political. Its institutional critique intersects with critical race art history’s concerns.
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.
See: BAMPFA Roundtable Discussion
Full-time tenure-track Assistant Professor in the field of photographic history, theory, and criticism. The successful applicant will hold a Ph.D. in art history or visual culture, with a specialty, publication record, and research program in any area of the history of photography. We seek a candidate with experience teaching global, historical surveys of the medium, as well as seminars on contemporary photography. Demonstrated interest in issues of race, gender, ethnicity, or other categories of difference will be privileged in the selection process.
Course load is 5 courses per academic year (typically 2/3); active participation in program assessment/development and committee service is required. Instructors in the Visual Studies program participate in the teaching of the program’s required and elective courses, including introductory historical surveys, 200-level electives, and 300-level seminars. Successful candidates will also have the interest in teaching at the graduate level.
For more information: http://www.cca.edu/about/jobs/60538