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| Linda Benglis. Exhibition Announcement. Artforum. Nov. 1974. Portrait on Women. |
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| Renee Cox, uses nude to celebrate AA women + criticize racist and sexist society; social issues. |
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| Liberation of Aunt Jemima and Uncle Ben, 1998 (she's from jamaica) portrait |
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| Yo mama's last supper Flipping the Script, showed in the Commited to the Image 1996. Renee Cox. portrait |
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Renee Cox, Cousins at Pussy Pond 2001 vs Edouard Manet, Luncheon in the Grass, 1863. portrait |
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| Mickalene Thomas, New Jersey. Photos of AA women, about femininity, power, and identity. 70's style, cool patterns at background. portrait |
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| Mickalene Thomas,portrait Afro GOddess With Hands Between Legs, 2006. |
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| Mickalene Thomas, Amoment's PLeasure, 2006.portrait |
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| Seydou Keita, Untitled (Reclining Women) 1956 portrait |
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| Seydou Keita, Untitled (Reclining Women) 1958 portrait |
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| La lecon d'amour. 2008, 47 1/2 x 59 inches portrait |
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| approves of Mickalene Thomas as promoting womanist agency (audacious, loves other women w/o it being sexual, prideful) |
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| I Thought You Said You Were Leavig. 2006. Rhineston, acrylic, andenamel on panel, 72x48 inches. portrait |
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| My main concern is the deconstruction of stereotypes and the empowerment of women. |
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| I believe that images of women in the media are distorted and women are imprisoned by those unrealistic representations of the female body. This distortion crosses all ethnic lines and devalues all women. I am interested in taking the stereotypical representations of women and turning them upside down, for their empowerment. |
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| That said, the main inspiration for my work comes from my life experiences. I use myself as a conduit for my photographs because I think that working with the self is the most honest representation of being. I am working toward regaining a “self-love,” not a narcissism, for the black female body as articulated by bell hooks in her book Sisters of the Yam. Slavery stripped black men and women of their dignity and identity and that history continues to have an adverse affect on the African American psyche. |
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| Thomas is proposing that playful juxtapositions of personal memory and historical example are the constructs of Black beauty . . . and that such juxtapositions should scintillate and dazzle as only what’s truly longed for can. |
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| “A sort of umbilical cord links the body of the photographed thing to my gaze: light, though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed |
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| The beauty of looking into these places without actually being present there is that the excursionist is spared the vulgar sounds and odious scents and repulsive exhibitions attendant up such a personal examination. |
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| Jacob A. Riis, “Five Cents a Spot”, Unauthorized Lodgings in Bayard St Tenement, ca. 1890 in ‘How the Other Half Lives: Studies Among the Tenements of New York |
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| police reporter, documented the living/working conditions of the poor. He did lectures in churches, groups, classes. |
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In the home of an Italian rag-picker, Jersey Street.
How the Other Half Lives Jacob Riis. Document |
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| Bandit's Roost. How the Other Half Lives: Studies Among the Tenements of New York. Jacob Riis. Document. 1880 |
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| Boys from the Italian quarter with a "Keep off the grass" sign. Jacob Riis. How the other half lives. 1880, documentary |
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| Jacob Riis. Documentary. New York |
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| How the other half lives, documentary, 1880, documentary, new york, jacob riis |
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| his work addressed and ?ned his own identity as a southern white aristocrat. only takes one shot of something, then moves on. |
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| William Eggleston "T.C. Boring, Greenwood, Mississipi, early 1970's" |
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| William Eggleston, "New Orleans, 1980" |
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| Born in London, lives in LA; He captured the attention of the international art world w/ his meditations on political and social conditions of our material culture. Gap btw the physical world and the image world |
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| Couple Kissing, Girl Staring at Camera, Tortilla Factory, New York by Garry Winogrand (1969) |
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| Garry Winogrand, World’s Fair, New York City, 1964. All photographs in this article copyrighted by the estate of Garry Winogrand) |
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| Garry Winogrand, Woman eating pretzel, from “Women Are Beautiful,” 1981 Lee Sievan, Pretzel Lady, 1940s. | |
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Lee Friedlander, “Revolving Door” (1963)
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| Wilmington, Delawere, USA - 1965. Lee Friedlander |
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| Young Couple on a Bench in Washington Square Park, N.Y.C.1965. Gelatin silver print, Edition 25/75. 20 x 16 inche. Diane Arbus |
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| Untitled, from the series Case History. 1997-98. Chromogenic color print. 58 1/2x 39 3/16 2011 Boris Mikhailov |
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| Untitled from the seris Case History, 1997, chromoenic color print, 93x49, boris mikhailov |
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| Untited, from the series Case History,1997-98 Boris Mikhailov |
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| Unittled from the series Case History, 97-98', "the act of looking" |
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| Explores the circumstances of people who have been left homeless by the collapse of the soviet union, documents oppresion, poverty everyday reality of a community living in russias new economic regime, and post-soviet urban conditions. |
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| .. faced by those who seek to directly confont and undermine dominant ideological structures is the danger of being subsume by the everything opposed, implicitly reinforcing the strength of that which they seek to dismantle.. |
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Yasumasa Morimura. A Requiem: Where is the Dictator, 2007 |
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Rotimi Fani-Kayode, Nothing to Lose XII (Bodies of Experience) 1989 C-type print |
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| Nikki Lee did various projects ranging from the Hispanic Project, the Lesbian Project, Ohio, Exotic Dancing, Punk ect. |
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| it is recisely this refusal to name whiteness, to assign it meaning, that frees white people from seeing their complicity in the social, cultural, and historical economy of racism |
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| Ysumasa Morimura. A Requim: Where is the Dictator. 2007. |
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| nigerian photographer, influenced by Mapplethorpe; explored the tensions thru stylized portraits |
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| Nigerian photographer; explored post/ and colonialism within the context of globalization |
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Rotimi Fani-Kayode. Nothing to Lose XII (Bodies of Experience.) 1989 |
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| Rotimi Fani-Kayode. Every Moment Counts (from ecstatic antibodies) 1989 |
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sonponnoi, 1987 by rotimi fani-kayode |
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| key concepts: hybridity, mimicry, difference, otherness, ambivalence, and stereotypes in relation to fixity |
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David Levinthal, Untitled, Blackface (1995-98) Polaroid |
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| Samuel Fosso, Cameroon 1962. photographed himself in images of heroes/famous people (malcolm x) |
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| Far From Heaven. 2002. production still. Gregoy Crewdson |
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| A. Phillip Randolph, Founder, Brotherhood of Sleeping Car Porters, New York City, April 8, 1976 |
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| Seyou Keita, Untitled (Recliing Woman) 1956. Mali |
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| Malick Sidibe. Christmas Eve 1965 |
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| racial fetishism, homosexual eroticism photos (The Black Book) racial fantasy reinforces racial stereotypes |
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| unconcious optics (reliving moments that shuld be gone) street photography used to ease the chaos |
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| Philosopher Walter Benjamin |
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| Walker Evans, Untitled, From Many Are Called series, 1938 |
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| Beat Streuli, Unitled, from Beat Streulit: New York City 2000-2002 |
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| Jeff Wall, 1986 Mimic, transperency in light box |
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| Jeff Wall, The Story teller, 1986, Silver dye bleach transparency in light box, the metropolitan museum of Art |
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| Phillip-Lorca diCorcia, head #22 from series HEADS 2001, chromogenic print |
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| Phillip-Lorca diCorcia, Ralph Smith, 21 years old: Ft. Launderdale, Florida, 90-92' |
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| Phillip-Lorca diCorcia, Ike Cole, 28 years old, LA 90-92' |
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| Phillip-Lorca diCorcia, Brent Booth, 21 years old 90-92' |
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| Spencer T8unick, American Artists,Dusseldorf 1 (museum kusnt palace) 2006 |
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| Nadav Kander, Yibin II (Coming Receipts) Sichuan Province 07' |
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| Michael Wolf, Tokyo Compression #9 |
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| Michael Wolf, Archictecture of Density, #a39 |
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| Gregory Crewdson, Merchants Row, untitled 2003' summer |
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| Charlie White, Getting Lindsay Linton, understanding Joshua, 2001 |
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| Allan deSouza, the searchers. Detail 03' |
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| Gregory Crewson, untitled, beaneath the roses 2003 summer |
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| Robert Capa. Death of a Loyalist Soldier, 1936 |
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| Robert Smithson Spiral jetty |
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