Photography and African American Education, 1957–1972
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Southeast Museum of Photography Preservation Assessment Project
PG-266669-19 Southeast Museum of Photography Preservation Assessment Project A. What activity or activities would the grant support? Support will fund three primary activities for the Southeast Museum of Photography Preservation Assessment Project: • A formal assessment of the photographs and photographic objects from the museum’s 4,500 piece collection, by a professional conservator of photographs. • In consultation with a professional conservator of photographs, the creation of a long-term preservation strategy for existing materials and future accessions. • In consultation with a professional conservator of photographs, the creation of a list of appropriate archival collections materials to reinforce existing collection materials and to support the care of future acquisitions. Through these activities, the Southeast Museum of Photography (SMP) aims to become better stewards of its cultural artifacts, ensuring the photographs and photographic materials in the museum’s care can be preserved and maintained in accordance with the highest of collections standards for future generations of researchers, educators, and museum visitors. B. What are the content and size of the humanities collections that are the focus of the project? The Museum houses 4,500 photographs dating from the mid-19th century to the present, 1,500 objects representing photographic processes such as photo transfer screen prints, photogravure prints, glass lantern slides, and 372 vintage or antique cameras. The photographic collection of SMP includes representatives from every major photographic process and the developments within those processes, including: tintypes, daguerreotypes, albumen prints, cyanotypes, gelatin silver prints, and C-prints. Highlights of the collection include: • Vintage and authorized edition prints from modern photography masters including: o Edward Weston: one of the foremost champions of highly detailed photographic images and the first American to receive a Guggenheim Fellowship. -
Dylan Yarbrough: Hello Everybody. It's Almost Noon. So, We're About to Get Started
Dylan Yarbrough: Hello everybody. It's almost noon. So, we're about to get started. Before we get going, I just wanted to let everybody know that the best way to pose questions or to participate in the conversation during the “Photos at Zoom,” event is to actually use the QNA portion, instead of the chat. If you use the chat function, I’m the only person that's going to be able to read that instead of the group. So, be sure to use the QNA button to participate. Dylan Yarbrough: We were almost at noon... hit noon right then. So, we'll go ahead and get started now. Welcome to “Photos at Zoom.” Dylan Yarbrough: My name is Dylan Yarbrough, I’m a curatorial assistant at the Museum of Contemporary Photography and today we're going to be doing a "Photos at Zoom,” print viewing over photography as a social practice. Dylan Yarbrough: The MoCP is the world's premier College Art Museum that's dedicated to photography. Our institution provokes ideas among students, and artists, and diverse communities throughout the world with groundbreaking exhibitions and educational programing. Dylan Yarbrough: Our mission is to cultivate a deeper understanding of the artistic cultural and political roles of photography in our world today. Dylan Yarbrough: We began collecting in the 1980’s and have since grown our collection to include over 16,000 photographic objects. Dylan Yarbrough: Normally we offer a “Photos at Noon,” event where we hold a public print viewing that allows the general public to view our collection up close and in person. -
Download the Contributor's Manual
Oxford University Press Hutchins Center for African &African American Research at Harvard University CONTRIBUTOR’S MANUAL African American National Biography Henry Louis Gates, Jr. Evelyn Brooks Higginbotham Editors in Chief http://hutchinscenter.fas.harvard.edu/aanb CONTENTS 1 INTRODUCTION 2 PLANNING YOUR ARTICLE 2.1 Readership 2.2 Scope Description 2.3 Word Allotment 2.4 Consensus of Interpretation 3 WRITING YOUR ARTICLE 3.1 Opening Paragraph 3.2 Body of Text 3.3 Marriages 3.4 Death and Summation 3.5 Living People 3.6 Identifying People, Places and Things 3.7 Dates 3.8 Quotations and Permissions 3.9 Citations 3.10 Plagiarism 4 SOME NOTES ON STYLE 4.1 Style, Grammar, spelling 4.2 Spelling 4.3 Punctuation 4.4 Capitalization 4.5 Dates 4.6 Racial Terminology 4.7 Explicit Racial Identification 4.8 Gendered Terms 5 COMPILING YOUR “FURTHER READING” BIBLIOGRAPHY 5.1 Purpose 5.2 Number of Items 5.3 Availability of Works 5.4 Format 5.5 Verification of Sources 6 KEYBOARDING AND SUBMITTING YOUR MANUSCRIPT 1 1 INTRODUCTION We very much appreciate your willingness to contribute to the African American National Biography (AANB). More than a decade in the making, the AANB is now in its second edition, bringing the total number of lives profiled to nearly 5,000 entries online and in print. Our approximately 2,000 authors include Darlene Clark Hine on First Lady Barack Obama, John Swed on Miles Davis; Thomas Holt on W.E.B. Du Bois and the late John Hope Franklin on the pioneering black historian George Washington Williams. -
Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Working Against Racism from White Subject Positions: White Anti-Racism, New Abolitionism & Intersectional Anti-White Irish Diasporic Nationalism
Working Against Racism from White Subject Positions: White Anti-Racism, New Abolitionism & Intersectional Anti-White Irish Diasporic Nationalism By Matthew W. Horton A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Education and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Dr. Na’ilah Nasir, Chair Dr. Daniel Perlstein Dr. Keith Feldman Summer 2019 Working Against Racism from White Subject Positions Matthew W. Horton 2019 ABSTRACT Working Against Racism from White Subject Positions: White Anti-Racism, New Abolitionism & Intersectional Anti-White Irish Diasporic Nationalism by Matthew W. Horton Doctor of Philosophy in Education and the Designated Emphasis in Critical Theory University of California, Berkeley Professor Na’ilah Nasir, Chair This dissertation is an intervention into Critical Whiteness Studies, an ‘additional movement’ to Ethnic Studies and Critical Race Theory. It systematically analyzes key contradictions in working against racism from a white subject positions under post-Civil Rights Movement liberal color-blind white hegemony and "Black Power" counter-hegemony through a critical assessment of two major competing projects in theory and practice: white anti-racism [Part 1] and New Abolitionism [Part 2]. I argue that while white anti-racism is eminently practical, its efforts to hegemonically rearticulate white are overly optimistic, tend toward renaturalizing whiteness, and are problematically dependent on collaboration with people of color. I further argue that while New Abolitionism has popularized and advanced an alternative approach to whiteness which understands whiteness as ‘nothing but oppressive and false’ and seeks to ‘abolish the white race’, its ultimately class-centered conceptualization of race and idealization of militant nonconformity has failed to realize effective practice. -
Remembering the Struggle for Civil Rights – the Greenwood Sites
rallied a crowd of workers set up shop in a building that stood Union Grove M.B. Church protestors in this park on this site. By 1963, local participation in 615 Saint Charles Street with shouts of “We Civil Rights activities was growing, accel- Union Grove was the first Baptist church in want black power!” erated by the supervisors’ decision to halt Greenwood to open its doors to Civil Rights Change Began Here Greenwood was the commodity distribution. The Congress of activities when it participated in the 1963 midpoint of James Racial Equality (CORE), Council of Federated Primary Election Freedom Vote. Comedian GREENWOOD AND LEFLORE COUNTY, MISSISSIPPI Meredith’s “March Organizations (COFO), Southern Christian and activist Dick Gregory spoke at the church Against Fear” from Memphis to Jackson. in the spring of that year as part of his cam- Carmichael and two other marchers had paign to provide food and clothing to those been arrested for pitching tents on a school left in need after Leflore County Supervisors Birth of a Movement campus. By the time they were bailed out, discontinued federal commodities distribution. “In the meetings everything--- more than 600 marchers and local people uncertainty, fear, even desperation--- had gathered in the park, and Carmichael St. Francis Center finds expression, and there is comfort seized the moment to voice the “black 709 Avenue I power” slogan, which fellow SNCC worker This Catholic Church structure served as a and sustenance in talkin‘ ‘bout it.” Willie Ricks had originated. hospital for blacks and a food distribution – Michael Thelwell, SNCC Organizer center in the years before the Civil Rights First SNCC Office Movement. -
What Art Defined the Civil Rights Era? We Asked 7 Museum Curators to Pick One Work That Crystallized the Moment
Art World What Art Defined the Civil Rights Era? We Asked 7 Museum Curators to Pick One Work That Crystallized the Moment Curators from across the country share the works that capture the ethos of the era. Katie White (https://news.artnet.com/about/katie-white-1066), January 20, 2020 Gordon Parks, Department Store (1956). Courtesy of and copyright The Gordon Parks Foundation. In honor of Martin Luther King Jr. Day, we tasked curators across the country with the difficult task of choosing a single work of art that they feel defines the ethos of the Civil Rights Era. Their choices present a kaleidoscopic and occasionally surprising group of works that span continents and centuries—from iconic photographs to ritual sculptural objects. See the works and read the curators’ insights below. Joe Minter’s Children In Jail (2013) Joe Minter, Children In Jail (2013). Courtesy of Souls Grown Deep. This contemporary work by Joe Minter reflects back on Birmingham, Alabama’s Children’s Crusade: On May 2, 1963, more than 1,000 students skipped school and took to the streets from the doors of the 16th Street Baptist Church, and for days faced police violence and dog attacks, brutal sprays of fire hoses, and mass arrests. Ultimately, more than 3,000 children took part in the direct actions. More than 500 children were jailed by Alabama Public Safety Commissioner Bull Connor, including 75 kids crammed into a cell meant for eight adults, and still others locked into animal pens at the fairgrounds for days on end. Thanks to their sacrifices and the widespread media images of brutalized black children, President Kennedy took notice, the city negotiated with Martin Luther King Jr., jailed demonstrators were freed, and Connor lost his job. -
What Gordon Parks Witnessed
What Gordon Parks Witnessed The injustices of Jim Crow and the evolution of a great American photographer Tenement residents in Chicago in 1950. (Courtesy of and © the Gordon Parks Foundation) Story by David Rowell DECEMBER 3, 2018 Photos by Gordon Parks When 29-year-old Gordon Parks arrived in Washington, in 1942, to begin his prestigious job as a photographer at the Farm Security Administration, his first assignment was to shoot: nothing. The government agency, which was born of President Franklin D. Roosevelt’s New Deal, had originally intended to highlight rural suffering and the plight of farmers, but that mission quickly expanded to producing a vast visual record of American life. Overseen by Roy Stryker, chief of the photography unit within the agency’s historical section, the collection was a stunning, often sobering artistic vehicle for depicting the ways the government was both serving and failing its citizens. Parks had come to the FSA on a fellowship after being a staff photographer for the St. Paul Recorder newspaper and doing commercial freelance work, but he also hadn’t bought his first camera until 1937, and Stryker knew the photographer still had much to learn. First, as Parks recounted in his 1966 memoir “A Choice of Weapons,” Stryker had Parks show him his cameras — a Speed Graphic and a Rolleiflex — and promptly locked them in a cabinet. “You won’t be needing those for a few days,” the boss said. Instead, he asked his new photographer — who was raised in Kansas but also lived in Minnesota and later in Chicago — to eat in some restaurants, shop in stores, take in a movie. -
For All the World to See: Visual Culture and the Struggle for Civil Rights
Addison Gallery of American Art EXHIBITION GUIDE FOR EDUCATORS SPRING 2013 FOR ALL THE WORLD TO SEE: VISUAL CULTURE AND THE STRUGGLE FOR CIVIL RIGHTS April 13—July 31, 2013 Addison Gallery of American Art FREE GROUP VISIT HOURS BY APPOINTMENT: Education Department: Tuesday-Friday, 8am-4pm Katherine Ziskin, FREE PUBLIC MUSEUM HOURS: Education Fellow for School & Community Collaborations Tuesday-Saturday, 10am-5pm & Sunday 1pm-5pm [email protected] or 978.749.4198 Jamie Kaplowitz, Education Associate & Museum Learning Specialist TEACHER GUIDES, WORKSHOPS, & EXHIBITION INFORMATION: Rebecca Hayes, Curator of Education www.addisongallery.org/education FOR ALL THE WORLD TO SEE: VISUAL CULTURE AND THE STRUGGLE FOR CIVIL RIGHTS THE STRUGGLE FOR CIVIL RIGHTS The American Civil Rights Movement of the mid—20th century worked to abolish political, institutional, and social racism against African Americans through protest, demonstration, and use of media outlets. Much of the Civil Rights movement focused on legislation stemming from the Reconstruction period of post-Civil War America, including the 1896 Plessy v. Ferguson Supreme Court trial upholding the constitutionality of laws requiring racial segregation, which came to be known as separate but equal. In 1954, Brown v. The Board of Education overturned the Plessy v. Ferguson decision and defined segregation as unconstitutional. The Civil Rights movement continued to fight for true equality for African Americans, including enforced integration, education equality, media representation, and an end to hurtful and destructive racial stereotyping. fig. 1 IMAGES & THE MEDIA Visual Culture refers to the ways in which images are used in society. These include but are not limited to: advertisements, artworks, film, television, toys, magazines, newspapers, product packaging, postcards, sculptures, and signage. -
A Summary of the Contributions of Four Key African American Female Figures of the Civil Rights Movement
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 12-1994 A Summary of the Contributions of Four Key African American Female Figures of the Civil Rights Movement Michelle Margaret Viera Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the United States History Commons Recommended Citation Viera, Michelle Margaret, "A Summary of the Contributions of Four Key African American Female Figures of the Civil Rights Movement" (1994). Master's Theses. 3834. https://scholarworks.wmich.edu/masters_theses/3834 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. A SUMMARY OF THE CONTRIBUTIONS OF FOUR KEY AFRICAN AMERICAN FEMALE FIGURES OF THE CIVIL RIGHTS MOVEMENT by Michelle Margaret Viera A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of History Western Michigan University Kalamazoo, Michigan December 1994 ACKNOWLEDGEMENTS My appreciation is extended to several special people; without their support this thesis could not have become a reality. First, I am most grateful to Dr. Henry Davis, chair of my thesis committee, for his encouragement and sus tained interest in my scholarship. Second, I would like to thank the other members of the committee, Dr. Benjamin Wilson and Dr. Bruce Haight, profes sors at Western Michigan University. I am deeply indebted to Alice Lamar, who spent tireless hours editing and re-typing to ensure this project was completed. -
Untitled (Structures)
AN INTRODUCTION TO UNTITLED (STRUCTURES) marches. There are haunting images of segregation and inspiring shots of nonviolent protests on interstate buses and at white-only lunch counters and swimming pools. Poignant, quiet images from everyday life in the years both before and after the turbulent 1960s speak to the transformative shifts in northern urban centers that took place as a result of the Great Migration, when an estimated eight million African Americans moved to these cities from the south in search of economic opportunities and a more just existence. Hewitt and Young were as interested in the composition and aesthetics of the photographs and the subjectivity of the photographers as they were in the historical moments depicted. During early conversations they were thinking about the small, if not ordinary, moments of connection in the work, like a shared glance or clasped hands, that tell a timeless story about the human experience. The work of Paris- born photographer Elliott Erwitt from the collection was particularly important to them. Trained as a filmmaker, he brought his cinematic vision to his still photography, manipulating light and shadow and playing beautifully, and quite unconventionally, with depth of field to provide a quiet yet cunning context in which to address racial inequity. In his 1949 photograph of a subway platform in New York City, passengers are silhouetted against a light background. In the carefully composed image, the dark figures surround an advertisement that emerges from the shadows for “Griffin Allwite,” a shoe polish that used the slogan: “make all white shoes whitter!” After spending time with the photographs, examining their formal and historical structures, and thinking about how the subjects were captured and presented, Hewitt and Young began to ask questions about the fragility of memory, the complexity of nostalgia, the finite nature of any archive, and the slippery subjectivity inherent to the medium of photography. -
Kirkus Best Books of 2020
Featuring 328 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books KIRKUSVOL. LXXXVIII, NO. 23 | 1 DECEMBER 2020 REVIEWS THE BEST BOOKS OF 2020 SPECIAL ISSUE BONUS: Kirkus & Rolling Stone’s Top Music Books of 2020 The 100 Best Nonfiction and 100 Best YA Books of the Year + Our Regular December 1 Issue from the editor’s desk: Books That Deserved More Buzz Chairman HERBERT SIMON President & Publisher BY TOM BEER MARC WINKELMAN # Chief Executive Officer MEG LABORDE KUEHN [email protected] John Paraskevas Editor-in-Chief Every December, I look back on the year past and give a shoutout to those TOM BEER books that deserved more buzz—more reviews, more word-of-mouth [email protected] Vice President of Marketing promotion, more book-club love, more Twitter excitement. It’s a subjec- SARAH KALINA tive assessment—how exactly do you measure buzz? And how much is not [email protected] Managing/Nonfiction Editor enough?—but I relish the exercise because it lets me revisit some titles ERIC LIEBETRAU that merit a second look. [email protected] Fiction Editor Of course, in 2020 every book deserved more buzz. Between the pan- LAURIE MUCHNICK demic and the presidential election, it was hard for many titles, deprived [email protected] Young Readers’ Editor of their traditional publicity campaigns, to get the attention they needed. VICKY SMITH A few lucky titles came out early in the year, disappeared when coronavi- [email protected] Tom Beer Young Readers’ Editor rus turned our world upside down, and then managed to rebound; Douglas LAURA SIMEON [email protected] Stuart’s Shuggie Bain (Grove, Feb.