The Red Summer portfolio represents the stories of various locations in the American landscape where racial violence (often characterized as “Race Wars” at the time) erupted between 1917 and 1923. These years of conflict reveal several aspects of racial anxiety that inform our contemporary experience, including, though not limited to; racism, fear of violent black revolt, lynching, poverty, mass incarceration, and competition for employment.
The project is a series of large format prints (currently available at 24” x 42”) that combine photographs of the contemporary landscape made at or near the site of racial conflict with fragmented selections of contemporaneous newspaper reporting (1917–1923). In many cases the newsprint images include the surrounding stories or advertisements. The combination of the landscape photograph and the reproduction of newspaper fragments, usually being reported within a few days of the riots, is a rupture of the timeline (these places are not what they seem) and a conversation between the present and the past.
The Nasher Museum presents a major nationwide touring exhibition that offers a new perspective on the critical contribution that artists of African descent have made to the evolution of abstract art from 1940s to the present. Solidary & Solitary: The Joyner/Giuffrida Collection is the first large-scale public exhibition to bring together a lineage of visionary black artists. The exhibition begins in the mid-20th century with Abstract Expressionist Norman Lewis and traces a line to some of today’s most celebrated artists, including Theaster Gates and Lorna Simpson, as well as Mark Bradford, who represents the United States at the Venice Biennale 2017.
Material Desire and Experimental Film -- Program 2: Inside the Machine
Curated by Kim KnowlesMaterial engagement has always been at the forefront of experimental film practice, from Man Ray’s rayograms to Stan Brakhage’s hand-painted works. Interrogating the celluloid surface opened up new forms of representation that departed from conventional figurative imagery and allowed a more sensuous visual experience to emerge. As Brakhage stated, ‘Imagine an eye unruled by manmade laws of perspective.’ In our contemporary digitally-dominated world, the physical material of photochemical film takes on a renewed significance, enjoying a renaissance of sorts now that it is freed almost entirely from its association with commercial filmmaking. This specially-curated series of film programmes provides an insight into how material desire manifests in the working methods of a range of contemporary filmmakers and provides historical parallels to contextualise current techniques.
Staged reading of original script by senior Wesley Caretto investigating the life of French inventor and balloonist Jean Pierre Blanchard.