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WOMEN and MIGRATION Women and Migration: Responses in Art and History
WOMEN AND MIGRATION Women and Migration: Responses in Art and History Edited by Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson https://www.openbookpublishers.com © 2019 Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson (eds.), Women and Migration: Responses in Art and History. Cambridge, UK: Open Book Publishers, 2019, https://doi. org/10.11647/OBP.0153 In order to access detailed and updated information on the license, please visit, https:// www.openbookpublishers.com/product/840#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/840#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 978-1-78374-565-4 ISBN Hardback: 978-1-78374-566-1 ISBN Digital (PDF): 978-1-78374-567-8 ISBN Digital ebook (epub): 978-1-78374-568-5 ISBN Digital ebook (mobi): 978-1-78374-569-2 ISBN Digital (XML): 978-1-78374-674-3 DOI: 10.11647/OBP.0153 Cover image: Sama Alshaibi, Sabkhat al-Milḥ (Salt Flats) 2014, from the ‘Silsila’ series, Chromogenic print mounted on Diasec, 47' diameter. -
Defining Women Subjects: Photographs in Trinidad (1860S–1960S)
1 The University of the West Indies Institute for Gender and Development Studies Issue 7 – 2013 Defining Women Subjects: Photographs in Trinidad (1860s–1960s) Roshini Kempadoo ___________________________________________________________________ Abstract This article proposes research methodologies for use in analysing photographs that represent and visualise women subjects of colonial Trinidad. Methodology has been developed on the basis of research undertaken into photographic material of the period in Trinidad from the 1860s to 1960s. The researcher encounters the historical photographs in the present, thus providing insight into the ways in which photographic technologies have visualised Trinidadian women and explores how these practices persist in contemporary visual culture. Photography emerged as a mode of communication for ‘a developing capitalist world order’. No previous economy of visual technologies constituted a world order in the same sense, and it is from within this wider context that we may consider the complex creation, production and circulation of colonial photographs representing the woman figure. Photographic practice at the turn of the twentieth century was a contributive part of the imperial attempt to ‘unify the globe’ and equally became associated with the ‘myth’ of a universality of photographic language (Sekula 1981). Photographic practice contributed to a shift in the continuity of European ideas and thinking about the visualisation of the Other. Colonial photography determined the gendered construction of the colonial woman as subjected to heightened, fetishised, visual scrutiny. Kempadoo, Roshini. 2013. Defining Women Subjects: Photographs in Trinidad (1860s–1960s). CRGS, no. 7, ed. Kamala Kempadoo, Halimah DeShong, and Charmaine Crawford, pp. 1-14. 2 Introduction This article explores techniques and methods of the research process that are considered cornerstones to the analysis of colonial photographs of women. -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
Powered by Julie Mehretu Lot 1
PARTICIPATING ARTISTS Manal Abu-Shaheen Andrea Galvani Yoko Ono Golnar Adili Ethan Greenbaum Kenneth Pietrobono Elia Alba Camille Henrot Claudia Peña Salinas Hope Atherton Brigitte Lacombe Leah Raintree Firelei Báez Anthony Iacono Gabriel Rico Leah Beeferman Basim Magdy Paul Mpagi Sepuya Agathe de Bailliencourt Shantell Martin Arlene Shechet Ali Banisadr Takesada Matsutani Rudy Shepherd Mona Chalabi Josephine Meckseper Hrafnhildur Arnardóttir/Shoplifter Kevin Cooley Julie Mehretu Elisabeth Smolarz William Cordova Sarah Michelson Sarah Cameron Sunde N. Dash Richard Mosse Michael Wang Sandra Erbacher Vik Muniz Meg Webster Liana Finck Rashaad Newsome Tim Wilson AUCTION COMMITTEE Waris Ahluwalia, Designer and Actor Anthony Allen, Director, Paula Cooper Gabriel Calatrava, Founder, CAL Andrea Cashman, Director, David Zwirner Brendan Fernandes, Artist Michelle Grey, Executive Creative and Brand Director, Absolut Art Prabal Gurung, Designer, Founder and Activist Peggy Leboeuf, Director, Galerie Perrotin Michael Macaulay, SVP, Sotheby's Yoko Ono, Artist Bettina Prentice, Founder and Creative Director, Prentice Cultural Communications Olivier Renaud-Clément Olympia Scarry, Artist and Curator Andrea Schwan, Andrea Schwan Inc. Brent Sikkema, Founder and Owner, Sikkema Jenkins & Co Powered by Julie Mehretu Lot 1 Mind-Wind Fusion Drawings #5 2019 Ink and acrylic on paper 26 x 40 in (66 x 101.6 cm) Courtesy of the artist and Marian Goodman Gallery, New York Estimated value: $80,000 Mehretu’s work is informed by a multitude of sources including politics, literature and music. Most recently her paintings have incorporated photographic images from broadcast media which depict conflict, injustice, and social unrest. These graphic images act as intellectual and compositional points of departure; ultimately occluded on the canvas, they remain as a phantom presence in the highly abstracted gestural completed works. -
Dinner and a Revolution Art | Oct 2017 | by Jasmin Hernandez
DINNER AND A REVOLUTION ART | OCT 2017 | BY JASMIN HERNANDEZ Elia Alba's The Spiritualist (Maren Hassinger), 2013 “When we want to talk about diversity, it’s not a binary—it’s intersectional,” says New York-based artist Elia Alba. “There is diversity within diversity.” Her words arise as we discuss her upcoming exhibition “The Supper Club,” which opens late September at The 8th Floor in New York. Alba’s new show is a multi- layered project that began in 2012 when she, a black-identified Latinx artist, wanted to connect with fellow artists of color in her community and give them a voice. Five years in the making, “The Supper Club” encompasses 60 artist portraits, 25 politically focused dinners and a forthcoming book project, slated for 2018, with curator Nicole Caruth. Initially, Alba starting shooting portraits of artists that she either knew well or had long admired and followed. The portraits are rich, dazzling and almost transportive images of lauded artists, such as LaToya Ruby Frazier, Lina Puerta, Wanda Raimundi-Ortiz and Hank Willis Thomas. Taking a cue from Vanity Fair’s Hollywood issue, which mainly features white A-listers on its covers, Alba decided to use that template but flip it to honor black and brown artists. “The Hollywood issue assigns a moniker to each actor they include based on the kind of roles they play,” says Alba. “So I said, ‘O.K., let’s look at these artists. Let’s look at the people around me. What kind of work do they do? What does their work signify?’” By looking at all of the elements in their work, Alba was able to extrapolate different personas for the artists of color. -
Summer 2016 British Sculpture Abroad
British Art Studies Issue 3 – Summer 2016 British Sculpture Abroad, 1945 – 2000 British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Special issue edited by Penelope Curtis and Martina Droth www.britishartstudies.ac.uk Cover image: Simon Starling, Project for a Masquerade (Hiroshima) (film still), 2010–11. 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF produced on 9 Sep 2016 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. These unique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA http://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut http://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: http://www.britishartstudies.ac.uk Editorial team: http://www.britishartstudies.ac.uk/about/editorial-team Advisory board: http://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. Britishness, Identity, and the Three-Dimensional: British Sculpture Abroad in the 1990s Essay by Courtney J. -
Widening Circles | Photographs by Reginald Eldridge, Jr
JOAN MITCHELL FOUNDATION MITCHELL JOAN WIDENING CIRCLES CIRCLES WIDENING | PHOTOGRAPHS REGINALD BY ELDRIDGE, JR. Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Sonya Kelliher-Combs Shervone Neckles Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years © 2018 Joan Mitchell Foundation Cover image: Joan Mitchell, Faded Air II, 1985 Oil on canvas, 102 x 102 in. (259.08 x 259.08 cm) Private collection, © Estate of Joan Mitchell Published on the occasion of the exhibition of the same name at the Joan Mitchell Foundation in New York, December 6, 2018–May 31, 2019 Catalog designed by Melissa Dean, edited by Jenny Gill, with production support by Janice Teran All photos © 2018 Reginald Eldridge, Jr., excluding pages 5 and 7 All artwork pictured is © of the artist Andrea Chung I live my life in widening circles that reach out across the world. I may not complete this last one but I give myself to it. – RAINER MARIA RILKE Throughout her life, poetry was an important source of inspiration and solace to Joan Mitchell. Her mother was a poet, as were many close friends. We know from well-worn books in Mitchell’s library that Rilke was a favorite. Looking at the artist portraits and stories that follow in this book, we at the Foundation also turned to Rilke, a poet known for his letters of advice to a young artist. -
Brooklyn Bred 2
2014 NEXT WAVE FESTIVAL Brooklyn Academy of Music Alan H. Fishman, Brooklyn Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Bred 2 Vice Chairman of the Board Karen Brooks Hopkins, President Curated by Martha Wilson Joseph V. Melillo, Executive Producer Featuring: Clifford Owens (Oct 16) Dynasty Handbag (Oct 17) Pablo Helguera (Oct 18) Lighting Design by Lenore Doxsee RUN TIME: Approx 1hr (no intermission) DATES: OCT 16—18 at 7:30 & 9pm LOCATION: BAM Fisher (Fishman Space) Season Sponsor Time Warner Inc. is the BAM 2014 Next Wave Festival Sponsor Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Stephanie & Timothy Ingrassia Donald R. Mullen Jr. The Morris and Alma Schapiro Fund The SHS Foundation The Shubert Foundation, Inc. #BROOKLYNBRED BAM Fisher 2014 NEXT WAVE FESTIVAL About the Show MARTHA WILSON Curator, Performer (A Forum for Performance Art, Oct 16) Martha Wilson is a pioneering feminist artist and gallery director who over the past four decades has created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion, and preservation of artist books, temporary installation, performance art, as well as online works. She is represented by P.P.O.W Gallery in New York and has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts, Bessie and Obie awards for commitment to artists’ freedom of expression, a Yoko Ono Lennon Courage Award for the Arts, a Richard Massey Foundation-White Box Arts and Humanities Award, and in 2013 received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University. -
The World Bank Art Program
Lead sponsor and organizer: The World Bank Art Program To celebrate the role that artists play in the economic and social development of Latin America and the Caribbean region, the World Bank Art Program conceived About Change, a program of exhibitions of contemporary visual arts organized in collaboration with the Cultural Center of the Inter-American Development Bank (IADB) and the Art Museum of the Americas, Organization of American States (OAS). The exhibitions include artworks selected during an open Call for Entries (January- CONTENTS April 2010) as well as a small selection from the permanent collections of the partners. Works chosen during the open Call for Entries are by contemporary Lead sponsor and organizer: The World Bank Art Program visual artists from all member states in the region. The exhibitions provide a comprehensive overview of current artistic spheres and specialties. The categories of visual art for About Change are the following: fine arts (painting, sculpture, drawing, video, printmaking, photography, mixed media, video art, experimental film and digital animation); decorative arts, including design (product design, graphic design, textile and fashion design); and folk art (popular art, indigenous art and craft). The Project Committee, appointed and led by the World Bank Art Program, was in charge of the Call for Entries and the curatorial decisions related to the individual exhibitions. Wrestling with the Image is part of the About Change program. Project Committee members: Marina Galvani (The World Bank Art Program, Manager and Curator; Chair of the Curatorial Committee) Felix Angel (IADB Cultural Center, General Coordinator and Curator, Washington DC) Clara Astiasarán (Independent Curator, Costa Rica) Christopher Cozier (Artist and Independent Curator, Trinidad and Tobago) Evangelina Elizondo (The World Bank Art Program, Artist / Assistant Curator) Edgar Endress (Artist and Independent Curator, Chile) Tatiana Flores Ph.D. -
ABOUT the ARTWORKS on LOAN Dark Waters, 2008. Pixies Series
ABOUT THE ARTWORKS ON LOAN Dark Waters, 2008. Pixies series. Photography. © Elia Alba. Courtesy oF the artist. Dark Waters is from the Pixies series of photographs that are informed by Caribbean and Celtic mythologies, as well as by pop culture and history. The photographs blend these elements to create new narratives addressing coloniality, race, and identity. In this image, photographed on Islamorada in the Florida Keys, four young brown skinned girls wear masks made from a photo transfer process on fabric of a white woman’s face, occupying a landscape that is tropical, exotic, and stereotypes its inhabitants as sensuous and untamed. The juxtaposition of pale faces against brown bodies creates a disconnect that interrupts this narrative. Steps (Pride). Photography. © Lola Flash. Courtesy oF the artist. Flash’s work challenges stereotypes and gender, sexual, and racial preconceptions. She works primarily in portraiture with a 4x5 film camera, engaging those who are often deemed invisible. Recently, she has delved into the digital photography world and is a FujiFilm Collaborator. Flash’s practice is firmly rooted in social justice advocacy around sexual, racial, and cultural difference. You Am I, I Am Not You, 2012-2021. Photography. © Alicia Grullon. Courtesy oF the artist. My self-portraits draw on the signification of my body as a woman of color to explore identity as created through images. You Am I, I Am Not You #1, #2, & #3 are part of an ongoing series I refer to as sketches in myth-making. In these images, I perform each piece while pressing my face on a scanner, distorting and transforming it. -
Sensation Code
NICOLE AWAI SOLO EXHIBITIONS 2019 Nicole Awai: Envisioning the Liquid Land, Lesley Heller Gallery, New York, NY, 10/2019 2017 Nicole Awai: Vistas, Lesley Heller Gallery, New York, NY Nicole Awai: Material Re-Pose, Courtyard Gallery, AT&T Executive Education and Conference Center, The University of Texas at Austin 2016 Nicole Awai: Notes for Material Re-Pose, Critical Practices/ 21st Projects, NY 2013 Asphaltum Glance, Alice Yard, Port of Spain, Trinidad 2012 Mi Papi, Dream On – Happy Ending…, Washington Windows, 80wse Galleries, New York University 2011 Almost Undone, The Vilcek Foundation, New York, NY 2009 Backward and Forward, Akus Gallery, University of Eastern Connecticut 2005 Nicole Awai: Local Ephemera, Jamaica Center for Arts & Learning, Queens, NY SELECTED GROUP EXHIBITIONS 2019 Identity Measures, Contemporary Arts Center, New Orleans, LA Figuring the Floral, Wave Hill, Bronx, NY Summer Affairs, Barbara Davis Gallery, Houston, TX New Monuments for New Cities, The High Line Network, Houston, Austin, Chicago, Toronto and New York City Relational Undercurrents: Contemporary Art of the Caribbean Archipelago -Portland Museum of Art, Spring 2019 -Delaware Art Museum, 06/22-09/08/2019 2018 Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, Patricia & Philip Frost Art Museum, Florida International Museum, Miami FL, 10/12/2018-1/19/2019 Alchemy, BRIC House, BRIC Media Arts, Brooklyn, NY Said by Her, Lesley Heller Gallery, NY, NY PRIZM, Art Fair 2018, Miami Relational Undercurrents: Contemporary Art of the Caribbean -
Directory of Artists' Fellows & Finalists
NEW YORK FOUNDATION FOR THE ARTS Directory of Artists’ Fellows & Finalists 19 85 Liliana Porter Sorrel Doris Hays Architecture Crafts Film Susan Shatter Lee Hyla Elizabeth Diller Deborah Aguado Alan Berliner Elizabeth Yamin Oliver Lake Laurie Hawkinson John Dodd Bill Brand Meredith Monk David Heymann Lorelei Hamm Ayoka Chenzira Benny Powell John Margolies Wayne Higby Abigail Child Ned Rothenberg Michael Sorkin Patricia Kinsella Kenneth Fink Inter-Arts Pril Smiley Allan Wexler* Graham Marks George Griffin Mary K. Buchen Andrew Thomas Ellen Wexler* Robert Meadow Barbara Kopple William Buchen Judith Moonelis Cinque Lee Dieter Froese Louisa Mueller Christine Noschese Julia Heyward Robert Natalini Rachel Reichman Candace Hill-Montgomery Painting Choreography Douglas Navarra Kathe Sandler James Perry Hoberman Milet Andrejevic John Bernd Betty Woodman Richard Schmiechen Tehching Hsieh Luis Cruz Azaceta Trisha Brown Spike Lee Brenda Hutchinson William Bailey Yoshiko Chuma Patrick Irwin Ross Bleckner Blondell Cummings Barbara Kruger Eugene Brodsky Caren Canier Kathy Duncan Fiction Christian Marclay Karen Andes Martha Diamond Ishmael Houston-Jones Graphics M. Jon Rubin Michael Blaine Humberto Aquino Stephen Ellis Lisa Kraus William Stephens Magda Bogin Barbara Asch Mimi Gross Ralph Lemon Fiona Templeton Ray Federman Nancy Berlin Stewart Hitch Victoria Marks David Humphrey Arthur Flowers Enid Blechman Susan Marshall Yvonne Jacquette Wendy Perron Ralph Lombreglia Rimer Cardillo David Lowe Stephen Petronio Mary Morris Lloyd Goldsmith Music Medrie MacPhee