17 December 2007

Another new black woman artist, courtesy of Bitch magazine: Wanda Ewing, http://www.wandaewing.com. Maybe folks already know about her and I'm late to the game. Her work looks pretty provocative and interesting--check her out. She studied at San Francisco Art Institute--I wonder with whom?--and now works in Nebraska.

I'm intrigued that there is a shopping cart on her site but I can't figure out what's for sale--can one buy her work directly from her??? That would be pretty great.

The image at left is Girl #4, acrylic and latex paint on carved plywood, 48" x 48" from the Black as Pitch, Hot as Hell Pin Ups series; the image below is apparently a print version of Cornucopia from the Doll Parts series.

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ABOUT BEAUTY

Exhibition Opening Thursday 13 December at 18:00 and closes 5 January 2007

GOODMAN GALLERY CAPE is proud to present our end-of-year exhibition featuring the work of Frances Goodman, Joy Gregory, Robert Hodgins, William Kentridge, Vivienne Koorland, Penny Siopis, Kathryn Smith, Nontsikelelo Veleko and Sue Williamson. Exploring the complex mythology surrounding beauty, they suggest that beyond beauty's allure lies a darker and complex history of ideas and practices that are the very antithesis of beauty. How beauty operates, how judgements are made and how these impact physically, psychologically and politically are explored in a wide range of ways.

'About Beauty' takes its cue from Beautiful Ugly: African and Diaspora Aesthetics, the award-winning collection of essays by leading African artists and authors, edited by Sarah Nuttall. Like the book, the exhibition explores the radical transformations that are shifting perceptions of beauty as well as particular challenges offered by African and Diaspora artists to the world's predominantly Eurocentric ideals.

Lolo Veleko's presentation of 'young, gifted and black' youth who are refashioning the reception of African beauty epitomises a seismic generational shift of power from an old order to a new culture, exerting the power of the observed to challenge a historically white, Western gaze. In two very different series British photographer Joy Gregory invests ordinary objects of beauty with the iconic power to represent the horrors of apartheid South Africa and the circulation of lives, wealth and Diasporic memory between Europe and the Caribbean.

New York-based South African painter Vivienne Koorland, whose exhibition 'Reisenmalheurs' was recently seen at the Freud Museum in London, draws from children's images of the Holocaust and forced removals to explore the traumatic and transformative potential of travel. William Kentridge's drawing and prints at once reference colonial expansionism and genocide in Africa, the enduring pleasures of the body and the resilience of spirit that refuses to be crushed by them.

Robert Hodgins's paintings and monoprints explore social constructions of beauty inflected by assumptions about cultural and class distinctions. Mixing seduction and aversion, Kathryn Smith reflects on the interrelationship of Empire, decadence and gendered violence in her exquisite Victorian jewellery boxes.

Sue Williamson investigates the exhaustive and sometimes absurd demands of grooming while Frances Goodman examines the prejudicial judgements that expose society's dual fascination and revulsion with others as well as the ways in which anxieties and vulnerabilities are performed through language. Penny Siopis's recent paintings traverse the knife-edge between extreme experiences of beauty and trauma.

In their distinct ways each artist acknowledges that beauty is not an inherent property but the outcome of the interaction between self and an other, imbricated in a matrix of overt and subliminal experience that is always sensual and never merely the result of a set of criteria.

3rd Floor Fairweather House, 176 Sir Lowry Road, Woodstock, Cape Town | PO BOX 1106, Woodstock 7915 TEL: +27-21-462-7573/4 | FAX: +27-21-462-7579 | EMAIL: info@goodmangallerycape.com | www.goodmangallerycape.com OPENING HOURS: Tuesday - Friday 09h30 - 17h30, Saturday 10h00 - 16h00. Closed Sunday & Monday.

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14 December 2007

if you're in NY


(thanks, Deb)

Friday, December 14, 2007
Arts
Museum and Gallery Listings









SHEILA PREE BRIGHT: 'SUBURBIA'
In a show intended as an alternative
view of contemporary African-American life, Sheila Pree Bright turns
from images of street culture to those of upper-middle-class
domesticity as reached by commuter train. Some of the elegant
interiors have a self-aware black identity built into their décor,
through faux leopard skin and tribal sculptures in one case, and a
collection of racist cartoon ceramics in another. But over all, the
houses could belong to any suburban world anywhere. 138 Gallery, 138
West 17th Street, (212) 633-0324, gallery138.com; closes on Friday. (Cotter)

also

* KAMOINGE: ‘REVEALING THE FACE OF KATRINA’
The 10 artists in this group show are members of Kamoinge, a collective
of African-American photographers founded in 1963. All traveled to
different parts of the Gulf region in the aftermath of Hurricane Katrina
and recorded, in distinctively different ways, what they found: ruined
neighborhoods in a panoramic view of the Lower Ninth Ward by Gerald
Cyrus; displaced citizens in portraits by Collette V. Fournier, John
Pinderhughes, Herb Robinson and Radcliffe Roye; signs and memorials in
pictures by Salimah Ali. The individual images are gripping; the
cumulative record far more than that. HP Gallery at Calumet Photo, 22
West 22nd Street, (212) 989-8500, calumetphoto.com, through Dec. 28. (Cotter)

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13 December 2007

new title

(thanks, Deb)

Clinging to Mammy: The Faithful Slave in Twentieth-Century America

Micki McElya

2007 Myers Outstanding Book Award, Gustavus Myers Center for the Study of Bigotry and Human Rights

When Aunt Jemima beamed at Americans from the pancake mix box on grocery shelves, many felt reassured by her broad smile that she and her product were dependable. She was everyone's mammy, the faithful slave who was content to cook and care for whites, no matter how
grueling the labor, because she loved them. This far-reaching image of
the nurturing black mother exercises a tenacious hold on the American
imagination.

Micki McElya examines why we cling to mammy. She argues that the figure of the loyal slave has played a powerful role in modern American politics and culture. Loving, hating, pitying, or pining for mammy became a way for Americans to make sense of shifting economic, social, and racial realities. Assertions of black people's contentment with servitude alleviated white fears while reinforcing racial hierarchy. African American resistance to this notion was varied but
often placed new constraints on black women.

McElya's stories of faithful slaves expose the power and reach of the myth, not only in popular advertising, films, and literature about the
South, but also in national monument proposals, child custody cases, white women's minstrelsy, New Negro activism, anti-lynching campaigns, and the civil rights movement. The color line and the vision of interracial motherly affection that helped maintain it have persisted into the twenty-first century. If we are to reckon with the continuing legacy of slavery in the United States, McElya argues, we must confront the depths of our desire for mammy and recognize its full racial implications.


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Watch the New Video

Build the Wall Against
Big Media

In just five days, the Federal Communications Commission plans to open the floodgates of further media consolidation across America.

If FCC Chairman Kevin Martin gets his way, your community will be inundated with even more mass-produced celebrity gossip and infotainment, and less local reporting and quality journalism: more of the the junk news that is making us sick.

Together we can stop them. We blocked them in 2003, and today we need you to show Washington that you don't want more media consolidation. To do it, we're building a "Wall" of opposition: your photo next to thousands of others, standing shoulder to shoulder against Big Media. We're going to deliver this Wall to the FCC. Add your name now.

Help Build the Wall Against Big Media

Martin wants to "Super Size" Big Media (watch our new video), allowing companies like Gannett, News Corp. and Tribune to swallow up even more local TV, newspaper and radio outlets. Martin wants to let one company own both the major newspaper and a TV station in your hometown, drowning out the few remaining independent voices, so that media moguls like Rupert Murdoch can expand their empires.

We've made a new video that shows just how bad news is for us -- and our democracy -- and what we can do to put more diverse media back on the menu.

Watch Our New Video and Tell Your Friends

If you're fed up with junk news -- please stand shoulder to shoulder with us against the FCC's Big Media giveaway.

Onward,


Alexandra Russell
Program Director
Free Press
www.freepress.net
www.stopbigmedia.com

P.S. We can't do this alone. Please tell your friends and family about this important campaign.


View more information about this campaign at: www.action.freepress.net/campaign/ownership

Tell your friends about this campaign at: www.action.freepress.net/campaign/ownership/forward

If you received this message from a friend, you can click here to become a Free Press activist.

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New Exhibition at Kala: Artists' Annual Exhibition
December 13 - February 2, 2008
Opening Reception on Thursday, December 13, 6:00 -8:00 pm

Fresh work in a variety of media by Kala's community of artists! More than fifty artists affiliated with the Kala Art Institute of Berkeley will be exhibiting their work at the Kala Gallery. The Kala Gallery will present an exciting array of prints, video, photography, digital media creations and mixed media combinations.

A reception will be held on Thursday, December 13 from 6:00-8:00 pm. The public is cordially invited to meet the artists and join us for our holiday-style gala reception.

Barbara Kossy

Barbara Kossy

bayete ross smith

Bayeté Ross Smith


For more information about Kala: Please check our Website! http://kala.org

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Art, commerce intersect in two exhibits



Two related photography exhibitions - "Ad/Agency," which runs at the Photographic Resource Center at Boston University through Jan. 27; and "Cornucopia: Documenting the Land of Plenty," which runs at the Montserrat College of Art Gallery through Feb. 2 - forthrightly, if not all that memorably, profess their opposition to people buying too much. The experience of viewing them is a bit like walking down a Whole Foods aisle and hearing people with carts piled high lambaste Wal-Mart.

The most intellectually arresting work here consists of three examples from Hank Willis Thomas's series "Unbranded: Reflections in Black by Corporate America 1968-2008." Thomas appropriates advertising images that target and/or include African-Americans. He then manipulates the images digitally to remove extrinsic elements - text, logos, and so on - to de-contextualize them. The results can be both revealing and a little unnerving. Advertising in a market economy strikes a blow for inclusion - if only in the pursuit of profit. The sole color that concerns advertisers is green, the only minorities excluded are those lacking disposable income. As Thomas shows, this can turn inside out (or not) the place of otherwise marginalized groups in society.


Read the entire review here

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12 December 2007

Aperture holiday sale ends January 3!

All Aperture books are currently 30% off! Here's your change to buy one of the only books published by an African American photographer in the last few years. Seriously. And it's a really terrific book.


Class Pictures Photographs by Dawoud Bey
Essays by Jock Reynolds and Taro Nettleton
Interview by Carrie Mae Weems
Regular Price $ 45.00
Your Price $ 31.50

Hardcover
70 four-color images
164 Pages
9.56" X 11"
ISBN: 978-1-59711-043-3

Book Synopsis
For the past fifteen years, Dawoud Bey has been making striking, large-scale color portraits of students at high schools across the United States. Depicting teenagers from a wide economic, social, and ethnic spectrum— and intensely attentive to their poses and gestures—he has created a highly diverse group portrait of a generation that intentionally challenges teenage stereotypes.

Bey spends two to three weeks in each school, taking formal portraits of individual students, each made in a classroom during one forty-five-minute period. At the start of the sitting, each subject writes a brief autobiographical statement. By turns poignant, funny, or harrowing, these revealing words are an integral part of the project, and the subject’s statement accompanies each photograph in the book. Together, the words and images in Class Pictures offer unusually respectful and perceptive portraits that establish Dawoud Bey as one of the best portraitists at work today.

EXHIBTION SCHEDULE

Aperture Gallery
New York, New York
Friday, January 10–Thursday, February 28, 2008

Contemporary Art Museum
Houston, Texas
Friday, March 14, 2008-Sunday, May 11, 2008

Weatherspoon Art Museum
Greensboro, North Carolina
Sunday, June 29, 2008-Sunday, September 7, 2008

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looking for designer for really interesting project

I received this from Cicely Sweed:

Hi,

We were hoping to make a 2007 Launch, but our designer fell through,
so ASEstudio is looking for a graphic/web designer who can take our
website to the next level for 2008! Our current website
(http://www.asestudio.net/) was designed just this past Spring by a
graduating graphic design student at CCA in a class that acclimates
graphic designers to web design. Although we love the look, we're
ready to take the website to the next level in order to showcase the
jewelry, curatorial, and design portfolio of ASEstudio.

So here's what we need:

A designer who can create a redesign of this primary page:

http://www.asestudio.net/arttowear.html

We need more than just "thumbnails" of the work, but something that
allows the viewer to rollover/click to a full-view image of each piece
of jewelry and every photograph in the collection. This page should
also serve as a template design that we, the client, can continue to
develop by uploading/replacing images when needed. We would prefer
to pay a modest consulting fee for the redesign with the possibility
of continuing on as a client if we are pleased with the work.

Please send suggestions to:

creatrix@asestudio.net

Thanks!

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Nelson Hancock Gallery
111 Front St. #204, dumbo - Brooklyn, NY 11201

On the Page, On the Wall: four photographic books displayed

According to Lewis Baltz’s well-known formulation, “It might be more useful, if not necessarily true, to think of photography as a narrow, deep area between the novel and film.” This exhibition at Nelson Hancock Gallery includes work from four photographers’ books (and the books themselves) in an examination of the boundaries between novels, photography books, and films. Books have always offered an alternative venue for photographers, distinct from galleries and museums and walls in general. Books allow for the commingling of text with images, for fixed sequencing, for the inclusion of more images and a more intimate viewing experience. This exhibition showcases the transformations that photographic books enable and generate, as it displays four bodies of work that have been put into and pulled out of books.

Robert Gardner’s “Making Dead Birds: chronicle of a film,” revisits the planning and production of his landmark film, Dead Birds. Through carefully assembled letters, journals, telegrams, newspaper clippings and photographs, the book retells the film, with a parallel narrative that examines the evolving analytical and creative process of making a documentary film.

Amir Parsa will exhibit a series of “constellations” from a larger literary work of his entitled “L’opera Minora.” The constellations are arrays of fragments from the original text, including photographs and narrative passages written out in their original languages (English, French and Farsi). The resulting panels problematize the relationship between text-based narrative and photographic frames and illustrate in graphic fashion the transformation of book to gallery exhibition.

Accra Shepp’s “In the Loop” foregrounds photographic vision and process in an accordion-fold book made from a single fifty-foot long print. It includes 11 images, each composed of multiple 4”x5” negatives, depicting panoramic views of Chicago cityscapes as seen from elevated train platforms. The composite images, each a series within the series, forgo the conventions of the singular photographic frame in favor of sprawling sequences.

J.G. Zimmerman’s book consists of 32 photographs of decommissioned military planes, each assigned the role of a specific piece on a chess board. The thirty third leaf in the book recounts each move in the legendary 1972 chess match between Bobby Fischer and Boris Spassky. This highly anticipated and closely watched symbolic battle grew into a protracted melodrama in which US-Soviet tensions were dramatically played out in a world championship match. Zimmerman’s tightly cropped images reveal carefully composed fragments of weathered metal, patinas, faded paint, and shards of words and embody photography’s uncanny capacity for metaphor and transformation.

**There will be an opening reception for the artists on Thursday evening, December 13th from 6:30 to 8:30pm.

On the Page, On the Wall: four photographic books displayed
December 13, 2007 – February 16, 2008
Nelson Hancock Gallery
111 Front St. #204 - dumbo
Brooklyn, NY 11201

F Train to York Street
Exit to your right from subway station (on Jay Street)
Walk one block - turn left on to Front Street
111 is 2 1/2 blocks down

718-408-1190
nelson@nelsonhancockgallery.com

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ShoutOut! Banner

If you could stop another hurricane from hitting New Orleans, you would, wouldn't you?

This week, Hurricane H.U.D. is on its way to New Orleans to demolish over 4,500 units of low-income housing. If the bulldozers begin by December 18th they get a huge tax incentive, so it's going to take a levee of human proportions to stop it! Housing is a human right: we should be fighting to improve and increase housing for all the people of New Orleans, NOT demolishing what little structurally sound low-income housing remains! There are 50,000 families still living in FEMA trailers this holiday season, and H.U.D. wants to send bulldozers as a holiday gift.

Stop the Demolition, People's Hurricane Relief Fund

Last week Ruckus was asked to send support for the Stop the Demolition Coalition, a group of local partners who have banded together in this effort. We've responded as big and as quickly as possible, sending an action team of folks this past weekend to provide nonviolent direct action training and action support to the local action team. Our crew includes Indigenous People's Power Project (IP3) Director Marty Aranyado, Ruckus Project Director Sharon Lungo, and IP3 board member, Robert Chanate, all three of whom who are on the ground right now working with the communities in New Orleans to prepare to stop the bulldozers.

It is absolutely critical that you support the work in New Orleans this week. When we speak about climate justice, it is this type of work we mean - this is the frontline of our environmental efforts and it's up to YOU to strengthen the demands of the low income communities of New Orleans, who have been disproportionately affected by natural disasters, and continue to be ignored by our own government.

There are a multitude of ways to stand in solidarity:

Drop everything and go to New Orleans! (If you aren't from New Orleans, you are invited with love to come and support, but the role of decisionmaking lies with the local folks! More information is below.) We've posted the original call to action on our website, so please check out the solidarity pledge there and pack your bags!

Drop everything and go do a solidarity action at a Department of Housing and Urban Development office near you! (Bay folk, read BELOW)

Drop everything you can in the form of a donation! Drop everything you can in the form of a donation! We only need $2,000 to cover our action team's travel and support gear for actions this week! Please donate to Ruckus - we will immediately apply every dollar!

To support ongoing work and actions, or if you think you can head down this week, please email action@peopleshurricane.org !

----------------------------------------------------------------------------------------

ATTN Bay Area folks---Think National act Local---Participant in an Action this Friday in Oakland at 12pm! (Full Details Below)

*URGENT OAKLAND ACTION:** **DEFEND PUBLIC HOUSING IN NEW ORLEANS **/Friday 12/14 @ 12pm, Oakland!/*
*Support public housing residents from New Orleans to the Bay Area!*
*Housing is a Human Right!*

In the next few days, the Department of Housing and Urban Development (HUD) plans to bulldoze more than 5,000 livable public housing units in New Orleans, Louisiana. This attack specifically targets working class women of color and their children, who have been working to reclaim these units since Hurricane Katrina.

In response to this crisis, New Orlean's Coalition to Stop the Demolition has called for national support. Everyday more and more Bay Area residents experience first hand the result of ongoing gentrification policies in San Francisco and Oakland. The Katrina Solidarity Network (KSN) views the current housing crisis in New Orleans as part
of a larger attack on the existence of public housing nationally.

We hope that you will join with us to send a message to development corporations and congress: *We know that in order to stop the destruction of our local communities, we must Stop The Bulldozers in New Orleans!*

*WHEN:** **Friday, December 14th at 12:00 pm*
*WHERE:** **13th Street and Broadway in Oakland*
*WHO:** **Everyone that supports the Human Right to Shelter.*

For more information please email Katrinasolidarity@gmail.com

ruckus banner
Click here to donate.

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A little more Keba...


The home of art collector and renown dance choreographer Fatima Robinson is featured in the current issue of O at Home Magazine, Konte's artwork is displayed in her foyer.


(And she looks gorgeous--I may have to go look for this issue. An earlier issue featured Victoria Rowell's home with Amalia Amaki's art prominently displayed. I wonder if I still have that somewhere...

When I went to see if Amalia had a web page to which I could link, I instead found she had this publication with an also-gorgeous cover (which looks like my girl Grace Jones, or at least that early-'80s era of photography), which I think I hadn't heard of (how could that be? Amalia went to my alma mater, UNM), and which was apparently published by the
National Museum of Women in the Arts yet I can't find it on their site, which is suspect:

I did find it on Amazon.

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10 December 2007

















Check out http://thepeoplecouldfly.blogspot.com/, a blog by Intisar Abioto and her sisters. I had the pleasure of meeting Intisar only briefly recently in New York. It's a lovely project and you really have to check the blog to get a fuller flavor. Here's a brief description of the project from the blog:

Call me Intisar. I'm on a journey with my four sisters across America and Africa and South America to sniff out, sift out and research the dreams and stories of young people in the African Diaspora through a legend! about Flying Africans who escape slavery through flight. The folktale is found all across the Americas from the American South to the West Indies, Brazil and even on to Nigeria. HAVE YOU HEARD of it? It is also found in Virginia Hamilton's The People Could Fly. Is it real? Can Africans, can people fly? Did some really fly away from slavery?What does it mean to fly? to be able? to attempt and succeed ? to dream? and shift the dream into reality?.. To dream really and to land in that place.. is it a place too, a dream? our dreams..? We have questions more than anything.. So we are traveling and talking to people, filming and shooting a docu-narrative about journey and the people we meet.. and creating and "telling the tell" as Virginia Hamilton would say.. around these questions.. and these answers .. and the journeys.. of flight! and Imagination. Yes, importance there. Importance there. Don't forget that..ok?

What are our dreams and stories? Can we approach them as realities in waiting? We shall we will we do, we do. Yes? Yes. Here we speak, create around our powers as dreamers and the folks, the folks you hear? who be makin'em reality...
the people who fly. Is that a promise or what? This is for everyone.

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33 ways to say 'black' and 'box'


(now, let me just hope my sister remembered to fish it out of the recycling yesterday...)




An L.A. museum show of African American photography finds out just how volatile two simple words can be.
By Lynell George, Los Angeles Times Staff Writer
December 9, 2007
"BLACKS In and Out of the Box." As rubrics go it seemed straightforward enough. It had a certain directness, but with enough play built in for a bit of interpretive wiggle room -- or so curators Jill Moniz and Lisa Henry thought.

When they settled on the title, which also worked as an organizing theme for their current photography exhibition at the California African American Museum, they weren't thinking poetically. They saw "the box" as a camera, the actual apparatus used to still a moment, provoke a narrative or cue critique. What they didn't quite count on was what artists would read between the title's lines, or how charged the words "blacks" and "box" in close proximity might be. "The artists were having these real expectations," says guest curator Lisa Henry. "They'd say, 'That's a weird title,' or, 'What do you mean?' "

There was a certain power in the words' juxtaposition: It was an incantation of sorts that pulled in an array of work from the show's 33 invited artists, an intergenerational roster that includes instantly recognizable names -- Charles Gaines, Betye Saar, Lorna Simpson -- and others to watch for. As Moniz and Henry began to consider the pieces collectively, they couldn't ignore a not-so-subtle thread that looped through many of the pieces and the emotional conversations that attended it.

What was the box? "Stereotypes." "A school of thought." "A niche." "The museum." "The brain." "Fear." "A frame." "Blackness . . . . "

The concentration of works that deliberated, deconstructed or dabbled in notions of identity gave Moniz pause. "I was shocked if not dismayed," she admits. "I wasn't thinking about blackness at all. Except that the artists were black."

The show, as she and Henry had conceived it, was to highlight California's groundbreaking photography traditions through the prism of African American artists, says Moniz, the museum's visual arts curator. Juxtaposed against rare historic images of African American life in California drawn from the Steve Turner collection, it would be not just a survey of black artists living or trained in California, but a way to root around, exploring the medium and how African Americans "commemorate or critique" it. The topic seemed wide open, but "the exception to the rule were the folks who didn't focus on race," she says. "Race is still at the forefront of people's thinking in terms of their artistic endeavors. I had expected something different on the whole."

Still, there was nothing monolithic about the responses. As the work was laid out end to end, grouped by aesthetics, not by racial charge, ultimately much of it spoke to the complexity of experience -- both in the pieces' ambition and their subject matter.

Carla Williams, 42

How she saw the box: "Art history, a particular kind of practice."

Williams is a San Francisco-based archivist, a portrait photographer who's been immersed in landscapes and the many ways in which race is literally inscribed there -- towns called "White Settlement," "Negro," "Squaw" and "Jap Road."

One of the pieces in the show, a landscape titled "Nigton, Texas" -- is at the core. Short for "Nigger Town," the settlement was founded in the late 1800s by a group of recently freed slaves and christened by a white rancher -- named, incredibly, Jim Crow. Nigton is still entirely African American, and the majority of those who live there don't want the name changed. "It's this, 'Well it's always been this way' thinking" -- played out again and again from town to town.

"It's also complicated by the fact that every reference to 'Negro' gets changed to something like 'Rolling Hills,' which erases the history entirely." It leaves her of two minds.

The elision is a bitter metaphor: "We had a huge multicultural movement in the '90s, then there was a complete reversal -- 'Aren't we past all of that?' So the discussion of identity, race is totally paramount. It's my entire focus."

Through assemblage, collage, video and all manner of hybrids, the works explore a washof themes: The names we call ourselves. The masks we wear. The legacy of ancestors. How we mark territory and how it marks us. Staring point-blank at excruciatingly painful history. Erasure and its antidote: writing yourself into being.

lauren woods, 28

How she saw the box: "The frame."

Relocating from Texas to San Francisco, filmmaker woods found herself searching -- "looking for my own reflection." Art school in the Bay Area was a shock after life in Texas. "I had to seek out a black experience," she says, both in the traditions of filmmaking and the communities themselves.

That quest laid the groundwork for "Outside of the . . . ," woods' 16mm/digital video hybrid, which she shot at a black arts flea market in Berkeley. Her camera wanders through the environment, focusing tightly on fine details -- mouths, noses, cheekbones -- its gaze almost like a caress.

"I felt uncomfortable bringing a camera in public shooting black people, because of the history of ethnographic and safari films," she says. "I had all those things in my head. And there was a certain pressure of not wanting to continue a certain tradition." But purpose cut through her ambivalence.

While woods calls the piece "ethnofictive," she realizes that her work is becoming more abstract and yet -- "Isn't it the million-dollar question? Am I a black artist or an artist who happens to be? I want to say it's moot but . . . ."

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VèVè Clark, cosmopolitan African diaspora scholar, dies at 62

By Yasmin Anwar, Media Relations | 06 December 2007

– VèVè Amasasa Clark, an associate professor of African American studies at the University of California, Berkeley, and a literary scholar who coined the term "diaspora literacy," died Dec. 1 at Alta Bates Hospital in Berkeley after being found at home in a coma. She was 62.

VeVe Clark
VèVè Amasasa Clark (Francine Price photo)

Print-quality image available for download

During her 16 years on the African American studies faculty at UC Berkeley, Clark became an expert on such topics as African oral expression and the Francophone novel. She was instrumental in helping create at UC Berkeley the nation's first doctorate program in African diaspora studies.

"Her theorization of 'diaspora literacy' has functioned as a model for numerous scholars in the field, here in the United States and in the Caribbean. She will be sadly missed," said Suzette Spencer, an assistant professor of African American studies at the University of Wisconsin, Madison, and a former student of Clark's.

Clark's urbane manner was reinforced by her multilingualism. She spoke fluent French, Spanish and Creole and had a fair understanding of Wolof, a language spoken in Senegal, Gambia and Mauritania. She co-edited "The Legend of Maya Deren" (1985), a biography of the avant-garde filmmaker and theorist; and "Kaiso! Katherine Dunham: An Anthology of Writings" (1978), about the iconic dancer and choreographer who died last year.

"She was the epitome of a brilliant scholar, passionate thinker, gifted writer and master teacher," said Ula Taylor, chair of UC Berkeley's Department of African American Studies. "As a colleague, she was a woman of integrity who was committed to encouraging younger faculty to embrace their own intellectual voice."

As a mentor and champion for black scholarship, Clark worked on the retention of African American students and sought to provide a support network for graduate students in African American, African and Caribbean studies. What many students loved most was how she challenged them academically and intellectually.

"She could think so far out of the box, it was mind-blowing," said Lisa Ze Winters, an assistant professor of English and Africana studies at Wayne State University, Detroit, and a former student of Clark's. "Even as she pushed you, told you that your work could be better, you knew she really wanted you to succeed, to exceed your own expectations. In her mind, there were no limits."

Clark was born Dec. 14, 1944, and grew up in the New York City borough of Queens. She was the only child of Alonso Clark, who was from North Carolina and belonged to the worldwide historic Freemasonry fraternity, and of her Caribbean mother. VèVè Clark was extremely close to her father, friends said. Both her parents are deceased.

As a child, Clark first contemplated becoming a doctor and then a musician, according to an interview she did in 1996 when she became the inaugural recipient of UC Berkeley's Social Sciences Distinguished Service Award.

As an undergraduate in Queens College at the City University of New York, Clark majored in romance languages. After receiving her bachelor's degree in 1966, she continued her language studies at the Université de Nancy in France, where she received a certificate d'études supérieures. She returned to Queens College and received her master's degree in French in 1969.

During the 1970s, Clark headed west to UC Berkeley, where she worked as a teaching assistant in French and then as a lecturer in what was then called Afro-American studies. She also taught French at an experimental collegiate seminar program on campus that was known informally as Strawberry Creek College.

Daphne Muse, director of the Women's Leadership Institute at Mills College in Oakland, met Clark in 1973, when they were both teaching at UC Berkeley. The two quickly became close friends, and Clark officiated at Muse's wedding.

"She would have me on the floor in tears with laughter. She had an uncanny ability to mimic, and she was just brilliant," said Muse. "She was also incredibly generous, both spiritually and financially."

In 1980, Clark was hired as an assistant professor of African and Caribbean literature at Tufts University in Massachusetts. During that time, she worked on her Ph.D. thesis in French and ethnology for UC Berkeley and received her degree in 1983.

In 1985, she received a faculty research award from Tufts to attend the United Nations Conference for Women in Nairobi. A year later, Clark was promoted at Tufts to associate professor of African and Caribbean literature.

In 1991, she returned to UC Berkeley as an associate professor of African American studies. That same year, Clark won recognition for coining the phrase "diaspora literacy" in a paper titled "Developing Diaspora Literature and Marasa Consciousness." She defined the term as the ability to understand multi-layered meanings of stories, words and folk sayings in African diaspora communities through the knowledge and lived experiences of the community members' cultures.

Her method of using literature to convey experiences inspired students to look beyond dry surveys and interviews for their research. That was the case for Erin Winkler, who took Clark's "Diasporic Dialogues" course during her first year in graduate school at UC Berkeley.

"As a social scientist who researches children's developing understandings of race, I was not sure how a literature course would speak to my work," said Winkler, an assistant professor of Africology at the University of Wisconsin, Milwaukee.

But Clark encouraged Winkler to use coming-of-age novels in her research, said Winkler, "because they speak to experiences of race in ways that sometimes go unspoken in surveys or interviews. What she modeled in her own scholarship had a profound impact on my development as an interdisciplinary scholar."

During Clark's career, she received numerous awards, including a Guggenheim fellowship for research on choreographer Katherine Dunham and a graduate fellowship for study at the Université de Dakar, Sénégal. She also was a Rockefeller Foundation fellow-in-residence at Brown University,

In 1996, after winning UC Berkeley's first Social Sciences Distinguished Service award for "service that benefits undergraduate and/or graduate students," Clark explained to an interviewer her passion for fostering a new generation of black scholars.

"We're all trained in something else: English, political science, French, sociology," she said of her own generation. "How many Ph.D.s do we have who actually came though in African American studies or African diaspora studies? So, it's exciting to me that we are about to develop a generation in this field."

Trica Danielle Keaton, an assistant professor of American studies and global studies at the University of Minnesota, Twin Cities, fondly refers to Clark's adages as "VèVèisms."

"'Joining the ancestors,' a precious VèVèism, is not an ending, but rather a transition, something that feels akin to one of VèVè's 'zen moves' to higher and safer ground," Keaton said. "I am humbled by the love that she bestowed on us, her 'intellectual daughters and sons.' Indeed, I am honored to be but one of so very many touched by her genius and generosity."

Clark is survived by a wide circle of friends, colleagues and students. A memorial gathering in celebration of her life and legacy will be held on Friday, Dec. 14, from 11:30 a.m. to 2 p.m. in the Lipman Room in UC Berkeley's Barrows Hall.

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07 December 2007

after all that talk on the blogs earlier this year...

...prompted by this Miami Herald and this Washington Post article, I got an announcement today about this book (too bad the cover wasn't larger) from Duke University Press:



360 pages (December 2007)
37 b&w photos, 9 tables

Cloth - $84.95

[ISBN13 978-0-8223-4018-8]

Paperback - $23.95

[ISBN13 978-0-8223-4037-9]

Black behind the Ears is an innovative historical and ethnographic examination of Dominican identity formation in the Dominican Republic and the United States. For much of the Dominican Republic’s history, the national body has been defined as “not black,” even as black ancestry has been grudgingly acknowledged. Rejecting simplistic explanations, Ginetta E. B. Candelario suggests that it is not a desire for whiteness that guides Dominican identity discourses and displays. Instead, it is an ideal norm of what it means to be both indigenous to the Republic (indios) and “Hispanic.” Both indigeneity and Hispanicity have operated as vehicles for asserting Dominican sovereignty in the context of the historically triangulated dynamics of Spanish colonialism, Haitian unification efforts, and U.S. imperialism. Candelario shows how the legacy of that history is manifest in contemporary Dominican identity discourses and displays, whether in the national historiography, the national museum’s exhibits, or ideas about women’s beauty. Dominican beauty culture is crucial to efforts to identify as “indios” because, as an easily altered bodily feature, hair texture trumps skin color, facial features, and ancestry in defining Dominicans as indios.

Candelario draws on her participant observation in a Dominican beauty shop in Washington Heights, a New York City neighborhood with the oldest and largest Dominican community outside the Republic, and on interviews with Dominicans in New York City, Washington, D.C., and Santo Domingo. She also analyzes museum archives and displays in the Museo del Hombre Dominicano and the Smithsonian Institution as well as nineteenth- and early-twentieth-century European and American travel narratives.

“Based on first-rate ethnographic and historical research, Black behind the Ears provides fresh and original insights into the construction and representation of racial identities in the Dominican Republic and the United States. It is the most comprehensive, focused, and balanced treatment to date of Dominican racial and gender ideologies in the United States.”—Jorge Duany, author of The Puerto Rican Nation on the Move: Identities on the Island and in the United States
Black behind the Ears makes important contributions to our understanding of the Dominican experience. In this book, Ginetta E. B. Candelario shows processes of identity formation among Dominicans in different historical and geographical contexts, and she looks at the nuanced relationship between ethnic and racial identities. In my opinion, this is one of the best books written on the subject of racial, ethnic, and national identity formation in general.”—José Itzigsohn, author of Developing Poverty: The State, Labor Market Regulation, and the Informal Economy in Costa Rica and the Dominican Republic
“Ginetta E. B. Candelario’s Black behind the Ears argues compellingly that any serious effort to understand Dominican ideas and practices of race in the ancestral homeland as well as in the diaspora requires a large conceptual framework, a triangular geography of knowledge, and a cultural history formed by Dominican nation-building projects, the difficult plight of the Haitian Republic in the midst of a negrophobic world, the impact of U.S. racial thought, and the Latin American glorification of the Hispanic heritage. Candelario’s book remarkably dares to bring apparently disparate discursive sites to interact convincingly and engagingly in her analysis. The author renders facile readings of the Dominican chapter of the black experience in the Americas as exceptional or pathological simply unsustainable. She shows instead that it invites White Americans, African Americans, and other Latinos to revisit long-held assumptions about racial categories, ethnic identity, nationality, and the ideologies behind taking the ‘visible’ for ‘real’ in matters of race.”—Silvio Torres-Saillant, coauthor of The Dominican Americans

Ginetta E. B. Candelario is Associate Professor of Sociology and Latin American and Latina/o Studies at Smith College.

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weird; or WTF

Does anyone know what to do when your site is mirrored at some random other address? Check this out:


http://www.jandasgirlfriends.com/

04 December 2007

I love one-woman shows--go Caroline!

Summer Opportunities for ALANA* Undergraduate Students



http://www.doorsofopportunity.org/

* ALANA is an acronym for American, Latino/a, Asian American and Native American people.

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Call for artists

Second Avenue Subway Project

The Metropolitan Transportation Authority is constructing a new subway line along Second Avenue that will extend from 125th Street to the Financial District in Lower Manhattan. Sixteen new ADA (Americans with Disabilities Act) accessible stations will be constructed. Phase I of this project will include stations at 96th Street, 86th Street, 72nd Street and 63rd Street.

MTA Arts for Transit is commissioning site-specific permanent artwork for the first four Second Avenue Subway stations and invites artists to submit their qualifications for this exciting and unique opportunity. Please download the Call for Artists brochure for submission guidelines and for more information about the Second Avenue Subway project.

Submissions are due by 5 p.m. December 21, 2007 for the 96th and 86th Street stations. Materials received after December 21, 2007 will only be considered for the 72nd and 63rd Street stations, and may be submitted until March 15, 2008.

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03 December 2007

Call for Papers: Imagining the black female body:
Text and Contexts in literature and culture

Only the BLACK WOMAN can say "when and where I enter, in the quiet,
undisputed dignity of my womanhood, without violence and without suing
or special patronage, then and there the whole...race enters with me."
--Anna Julia Cooper, 1892


Hortense Spillers said it best when she proclaimed:
Let's face it. I am a marked woman, but not everybody knows my name.
'Peaches,' and 'Brown Sugar,' 'Sapphire' and 'Earth Mother,' 'Aunty,' 'Granny,'
....or 'Black Woman at the Podium.' I describe a locus
of confounded identities, a meeting ground of investments and privations in
the national treasury of rhetorical wealth. My country needs me, and if
I were not here, I would have to be invented.


Spillers' posturing points to the complex and delicate challenges black
women encounter in the minefield of mental, spiritual, and cultural
"codings" that, as Spillers stresses, create markers of identity so
loaded with mythical prepossession that there is "no easy way for the
agents buried beneath to come clean."

But what is it about black women's identity that makes them
marked women? What is it about their presence-their essence-that makes
them a threat in some social circles? Much of this uneasiness can be
traced to the tension that exists between the real and imagined
properties of black womanhood that circulate in America's Grammar book
(borrowing from Hortense Spillers). This book, a virtual roadmap of the
history that has created and sustained the false imaginings of a culture
bent on promoting whiteness and its privileges, distorts the ideal of
black womanhood.

What this volume proposes to do is explore the various
"imaginings" of the black female body in print and visual culture,
sports, America's iconic landscape (i.e. the mammy figure and the video
vixen), politics, and law. Contributors can also write on literature,
science, music, photography, or the fashion industry. Papers should
discuss not only how this black female body is framed, but also how
black women (and their allies) have sought to write/rite themselves back
into these social discourses on their terms. It is my hope that this
volume will create a dialogue with other outstanding volumes on the
black female body.

If you are interested in being a part of this book, please forward to me
an abstract by January 15, 2008. Entire papers will be due by September
1, 2008. You can send your abstract via email to ceh@udel.edu. Or you
may send your abstract by landmail to:

D r. Carol E. Henderson
Associate Professor of English and Black American Studies
212 Memorial Hall
University of Delaware
Newark, DE 19716.

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Glynnis Reed in "Read Me! Text in Art" exhibit- Reception 12/8, 7-9pm


Read Me! Text in Art
December 8- February 24
Opening Reception- Saturday, 12/8, 7-9 pm
145 North Raymond Avenue
Pasadena, CA 91103

www.armoryarts.org

(congrats, Glynnis!)

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Check out this blog, http://dodgeburn.blogspot.com/, from photographer Qiana Mestrich on photography and photographic history. It's not exactly new, but it's new to me.

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everybody is going to Miami, it seems

From Ben Sloat:
If you'll be in Miami for the art fairs this week, please check out my work at the respective fairs:

Aqua Art Fair
Exhibiting with OH&T Gallery,Boston
Booth# 28
Aqua Winwood
December 5 – 9
http://www.aquaartmiami.com (check out my piece on the Aqua Miami home page!)

Art Now Art Fair

Exhibiting with Safe- T Gallery, Brooklyn
Claremont Hotel, Room 112
1700 Collins Avenue, Miami Beach
December 6 – 9
http://www.artnowfair.com



Bridge Art Fair
Gallery Diet Presents: Word of Mouth
Curated by Brian Burkhardt

Catalina Hotel, Room 117
1732 Collins Avenue, Miami Beach
December 6 – 9
http://www.bridgeartfair.com


Also of note is my new website: www.bensloat.com
Updates of my newest taxidermy work and
mechanical light sculptures will be added in
the next few months, so check back soon!


From Deborah Jack:

This is just a note to update you on what's going on.
Remember the Infinite Island exhibit is still up at the Brooklyn Museum.
So if you are in NYC for the holidays swing on by and see this really great exhibit.
I'll get my break from East Coast snow as I head to Miami for Art Basel.

This year my work will be on display at the
Art Center/ South Florida
924 LINCOLN ROAD,
a Partnership with Diaspora Vibe Gallery


I will also be a panelist at the following event:
Check out this website for details:



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Elisabeth Sunday exhibition in Brussels


Miscellaneous II

5 December 2007 - 5 January 2008
Box Galerie




http://www.boxgalerie.be/index.php?flash=ok

click on "les photographes" (photographers) and then on her name to see more images from her new Tuareg work.

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