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Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
Scales and subjectivities of vision and photography are transforming under the influence of remote-sensing arrays, machine visions, and global observation systems. Computational and composite photography capture not just an image in time, but also in space, permitting 1:1 digitization and replication of spatial objects, bodies, and landscapes. Remote sensing offers at once extended apparatuses of viewing, feeling, and operating in the world, as well as expanded dynamics of population control. These large-scale spatial mapping technologies are primarily deployed, administered, and understood by economically dominant world powers and multinational scientific consortia. Asymmetrical power relations are thus reproduced and amplified at the planetary scale. There is an urgency for these images and models to be legible to wider publics and constituencies than solely at the levels of industry, military, and governance. How can artists operate within these scales of perception for new imaginative and political potential? What kinds of interventions, trespasses, transformative subjectivities are occurring through the deliberate decolonization and appropriation of networks of remote sensing by those on the peripheries of power?
Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
Featuring the work of 19 graduating seniors in the Tisch Department of Photography & Imaging
BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of conversations about imaging the black body. We invite artists, activists, and scholars to reflect on the visual expressions of national imaginaries and political ideologies that negate racial differences and render black subjects invisible. Such ideologies are prevalent in Latin America and the Caribbean, where metaphors of mixture (mestizaje or mestiçagem) and racial harmony ignore inequality and discrimination. Similar formulations are to be found elsewhere, however, as in republican France, or among proponents of a post-racial United States, or in references to a South African “rainbow nation”, or in Jamaica’s well-known “out of many, one people” motto. Presenters will engage a range of historical and contemporary topics such as biennales, exhibitions, movements, individual artists and collectives, art markets, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography. We invite papers and panel proposals on relevant topics.
BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of conversations about imaging the black body. We invite artists, activists, and scholars to reflect on the visual expressions of national imaginaries and political ideologies that negate racial differences and render black subjects invisible. Such ideologies are prevalent in Latin America and the Caribbean, where metaphors of mixture (mestizaje or mestiçagem) and racial harmony ignore inequality and discrimination. Similar formulations are to be found elsewhere, however, as in republican France, or among proponents of a post-racial United States, or in references to a South African “rainbow nation”, or in Jamaica’s well-known “out of many, one people” motto. Presenters will engage a range of historical and contemporary topics such as biennales, exhibitions, movements, individual artists and collectives, art markets, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography. We invite papers and panel proposals on relevant topics.
BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of conversations about imaging the black body. We invite artists, activists, and scholars to reflect on the visual expressions of national imaginaries and political ideologies that negate racial differences and render black subjects invisible. Such ideologies are prevalent in Latin America and the Caribbean, where metaphors of mixture (mestizaje or mestiçagem) and racial harmony ignore inequality and discrimination. Similar formulations are to be found elsewhere, however, as in republican France, or among proponents of a post-racial United States, or in references to a South African “rainbow nation”, or in Jamaica’s well-known “out of many, one people” motto. Presenters will engage a range of historical and contemporary topics such as biennales, exhibitions, movements, individual artists and collectives, art markets, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography. We invite papers and panel proposals on relevant topics.
BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of conversations about imaging the black body. We invite artists, activists, and scholars to reflect on the visual expressions of national imaginaries and political ideologies that negate racial differences and render black subjects invisible. Such ideologies are prevalent in Latin America and the Caribbean, where metaphors of mixture (mestizaje or mestiçagem) and racial harmony ignore inequality and discrimination. Similar formulations are to be found elsewhere, however, as in republican France, or among proponents of a post-racial United States, or in references to a South African “rainbow nation”, or in Jamaica’s well-known “out of many, one people” motto. Presenters will engage a range of historical and contemporary topics such as biennales, exhibitions, movements, individual artists and collectives, art markets, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography. We invite papers and panel proposals on relevant topics.
The Family of Man, a pioneering exhibition of photography designed by Edward Steichen that began life at the Museum of Modern Art in 1955, and that was then seen by millions of people in dozens of countries all over the world, was the most successful photographic exhibition of all time; it has also remained a source of contentious debate and controversy among critics and academics down to the present day.
BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of conversations about imaging the black body. We invite artists, activists, and scholars to reflect on the visual expressions of national imaginaries and political ideologies that negate racial differences and render black subjects invisible. Such ideologies are prevalent in Latin America and the Caribbean, where metaphors of mixture (mestizaje or mestiçagem) and racial harmony ignore inequality and discrimination. Similar formulations are to be found elsewhere, however, as in republican France, or among proponents of a post-racial United States, or in references to a South African “rainbow nation”, or in Jamaica’s well-known “out of many, one people” motto. Presenters will engage a range of historical and contemporary topics such as biennales, exhibitions, movements, individual artists and collectives, art markets, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography. We invite papers and panel proposals on relevant topics.
BLACK PORTRAITURE[S] IV: The Color of Silence is the eighth conference in a series of conversations about imaging the black body. We invite artists, activists, and scholars to reflect on the visual expressions of national imaginaries and political ideologies that negate racial differences and render black subjects invisible. Such ideologies are prevalent in Latin America and the Caribbean, where metaphors of mixture (mestizaje or mestiçagem) and racial harmony ignore inequality and discrimination. Similar formulations are to be found elsewhere, however, as in republican France, or among proponents of a post-racial United States, or in references to a South African “rainbow nation”, or in Jamaica’s well-known “out of many, one people” motto. Presenters will engage a range of historical and contemporary topics such as biennales, exhibitions, movements, individual artists and collectives, art markets, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography. We invite papers and panel proposals on relevant topics.
An exhibition featuring works in photography, digital imaging, and multimedia by 22 graduating seniors from the Department of Photography and Imaging, Class of 2018. SHOW TWO is the second and last of BFA exhibitions of the work of the entire graduating Photography and Imaging class.