https://simplecast.com Photographers of Color Podcast The Center for Photographers of Color - seeks to promote the advancement of emerging and under-represented artists of color working within photography, digital imaging, and other lens-based media. On this podcast we talk about what it means to be a person of color working in photography and other lens-based media today. All rights reserved en Sun, 7 Nov 2021 22:10:56 +0000 Sun, 7 Nov 2021 22:20:30 +0000 https://the-center-for-photographers-of-color-podcast.simplecast.com Photographers of Color Podcast https://image.simplecastcdn.com/images/c7d677dd-80f3-46c1-8ef7-b536bdfdac26/4d1f5336-caf9-44bc-8a23-5560b4a61cbc/3000x3000/cpoc-pod.jpg?aid=rss_feed https://the-center-for-photographers-of-color-podcast.simplecast.com episodic The Center for Photographers of Color Podcast is … The Center for Photographers of Color - seeks to promote the advancement of emerging and under-represented artists of color working within photography, digital imaging, and other lens-based media. On this podcast we talk about what it means to be a person of color working in photography and other lens-based media today. Aaron Turner no https://feeds.simplecast.com/V_lBxF3R photography, center, history, photogsofcolor, visual, documentary, filmmaking, art, fineart, photojournalsim Aaron Turner art024@uark.edu 5b7de10b-d528-43a0-a09c-9b21b03f48af Arkansas Photographer: Geleve Grice w/ Robert Cochran, Ph.D. Geleve Grice was born on January 16, 1922, in Tamo, a small farming town located fifteen miles from Pine Bluff. At thirteen, Grice moved with his parents, Toy and Lillie, to Little Rock, where he graduated from Dunbar High School in 1942. An accomplished sportsman, Grice made the all-state football team his senior year of high school and later played for a service team during his four-year stint in the Navy. Grice entered the U.S. Navy immediately after graduation in the heat of World War II, eventually serving in the Pacific, where he guarded Japanese prisoners.

 

Grice began his photography career as a high school senior. L. C. and Daisy Bates, publishers of the Arkansas State Press newspaper, encouraged his journalistic interests by creating a column that featured his images and writings about fellow Dunbar classmates. While in the Navy, Grice was stationed at Great Lakes Naval Air Station in Illinois and went to Chicago on leave, where he took photos of the city’s nightlife, capturing unique images of famous black Americans like Joe Louis, Louis Armstrong, and famed guitarist T-Bone Walker.

 

After completing his military service on April 23, 1946, Grice enrolled at Arkansas Agricultural, Mechanical, and Normal College (AM&N College), later to be known as UAPB, the University of Arkansas at Pine Bluff where he majored in psychology. He also played football for the Golden Lions, served as yearbook photographer, and was eventually hired in 1947 as the campus photographer. In September 1949, Grice married his college sweetheart, Jean Bell of North Little Rock, a singer who became the first black graduate student in the music department of the University of Arkansas in Fayetteville. They had one son, Michael.

 

When he graduated in 1950, Grice had already opened the professional photography studio to earn his living for the next forty years. He frequently worked outside the studio for the Arkansas State Press and various local television stations. Grice’s photos also appeared in such national publications as Ebony, Jet, and Life magazines.

 

One of the highlights of Grice’s career came while still a college student in 1948, when he was asked to document the integration of the University of Arkansas Law School in Fayetteville. As a result, Silas Hunt, accompanied by attorneys Wiley Branton and Harold Flowers, became the first black student to enroll at an all-white Southern university since Reconstruction.

 

In 1958, Grice photographed Martin Luther King Jr.’s commencement address at AM&N College. Because Grice was often called upon to chronicle significant happenings in the black community, his collection includes images of other notable black Americans, such as Mary McLeod Bethune, Ray Charles, Thurgood Marshall, and Muhammad Ali.

 

In 1998, the UAPB art department sponsored an exhibit of his work, Those Who Dare to Dream: The Works of Arkansas Photographer Geleve Grice. The Old State House Museum in Little Rock followed in 2003 with a more extensive exhibition of his work, A Photographer of Note: Arkansas Artist Geleve Grice. In 2003, the University of Arkansas Press published a book of the same title by Robert Cochran, featuring many of Grice’s most captivating photos.

 

Grice died on August 17, 2004.

https://encyclopediaofarkansas.net/entries/geleve-grice-1161/

https://digitalcollections.uark.edu/digital/collection/Civilrights/id/157

https://news.uark.edu/articles/9559/diane-blair-and-geleve-grice-papers-donated-to-mullins

https://arkansasresearch.uark.edu/a-photographer-of-note-arkansas-artist-geleve-grice/

https://fulbright.uark.edu/departments/english/directory/index/uid/rcochran/name/Robert-Cochran/

https://youtu.be/bUqlnPFeFew

 

]]> Sun, 7 Nov 2021 22:10:56 +0000 art024@uark.edu (Aaron Turner, Robert Cochran, Bob Cochran) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/arkansas-photographer-geleve-grice-w-robert-cochran-phd-PSlC1OX0 Geleve Grice was born on January 16, 1922, in Tamo, a small farming town located fifteen miles from Pine Bluff. At thirteen, Grice moved with his parents, Toy and Lillie, to Little Rock, where he graduated from Dunbar High School in 1942. An accomplished sportsman, Grice made the all-state football team his senior year of high school and later played for a service team during his four-year stint in the Navy. Grice entered the U.S. Navy immediately after graduation in the heat of World War II, eventually serving in the Pacific, where he guarded Japanese prisoners.

 

Grice began his photography career as a high school senior. L. C. and Daisy Bates, publishers of the Arkansas State Press newspaper, encouraged his journalistic interests by creating a column that featured his images and writings about fellow Dunbar classmates. While in the Navy, Grice was stationed at Great Lakes Naval Air Station in Illinois and went to Chicago on leave, where he took photos of the city’s nightlife, capturing unique images of famous black Americans like Joe Louis, Louis Armstrong, and famed guitarist T-Bone Walker.

 

After completing his military service on April 23, 1946, Grice enrolled at Arkansas Agricultural, Mechanical, and Normal College (AM&N College), later to be known as UAPB, the University of Arkansas at Pine Bluff where he majored in psychology. He also played football for the Golden Lions, served as yearbook photographer, and was eventually hired in 1947 as the campus photographer. In September 1949, Grice married his college sweetheart, Jean Bell of North Little Rock, a singer who became the first black graduate student in the music department of the University of Arkansas in Fayetteville. They had one son, Michael.

 

When he graduated in 1950, Grice had already opened the professional photography studio to earn his living for the next forty years. He frequently worked outside the studio for the Arkansas State Press and various local television stations. Grice’s photos also appeared in such national publications as Ebony, Jet, and Life magazines.

 

One of the highlights of Grice’s career came while still a college student in 1948, when he was asked to document the integration of the University of Arkansas Law School in Fayetteville. As a result, Silas Hunt, accompanied by attorneys Wiley Branton and Harold Flowers, became the first black student to enroll at an all-white Southern university since Reconstruction.

 

In 1958, Grice photographed Martin Luther King Jr.’s commencement address at AM&N College. Because Grice was often called upon to chronicle significant happenings in the black community, his collection includes images of other notable black Americans, such as Mary McLeod Bethune, Ray Charles, Thurgood Marshall, and Muhammad Ali.

 

In 1998, the UAPB art department sponsored an exhibit of his work, Those Who Dare to Dream: The Works of Arkansas Photographer Geleve Grice. The Old State House Museum in Little Rock followed in 2003 with a more extensive exhibition of his work, A Photographer of Note: Arkansas Artist Geleve Grice. In 2003, the University of Arkansas Press published a book of the same title by Robert Cochran, featuring many of Grice’s most captivating photos.

 

Grice died on August 17, 2004.

https://encyclopediaofarkansas.net/entries/geleve-grice-1161/

https://digitalcollections.uark.edu/digital/collection/Civilrights/id/157

https://news.uark.edu/articles/9559/diane-blair-and-geleve-grice-papers-donated-to-mullins

https://arkansasresearch.uark.edu/a-photographer-of-note-arkansas-artist-geleve-grice/

https://fulbright.uark.edu/departments/english/directory/index/uid/rcochran/name/Robert-Cochran/

https://youtu.be/bUqlnPFeFew

 

]]> Arkansas Photographer: Geleve Grice w/ Robert Cochran, Ph.D. Aaron Turner, Robert Cochran, Bob Cochran 01:16:20 For this episode, I’m speaking with Dr. Robert Cochran. Professor in the Department of English here at the University of Arkansas. His research and teaching interests include American Studies, American Literature, Folklore, and contemporary literature, and he has numerous publications and awards to his name, including a 1989 Guggenheim Fellowship. We speak about Cochran’s book, A Photographer of Note: Arkansas Artist Geleve Grice, and many memories of Mr. Grice during the making of the book, photographs, and his legacy. For this episode, I’m speaking with Dr. Robert Cochran. Professor in the Department of English here at the University of Arkansas. His research and teaching interests include American Studies, American Literature, Folklore, and contemporary literature, and he has numerous publications and awards to his name, including a 1989 Guggenheim Fellowship. We speak about Cochran’s book, A Photographer of Note: Arkansas Artist Geleve Grice, and many memories of Mr. Grice during the making of the book, photographs, and his legacy. pine bluff arkansas, arkansas delta, little rock nin, daisey bastes, mechanical, bluff, arkansas agricultural, normal college, folklore, joe luis, am&n, silas hunt, images, turner, photography, pinebluff, bob cochran, university of arkansas pine bluff, arkansas artist geleve grice, mlk, arkansas agricultural mechanical normal college, uapb, aaron, mechanical & normal college, visual culture, pine, a photographer of note, school of art, arkansas, robert cochran, lc bates, photographers of color, tamo, geleve girce, english, silas, state of arkansas, hunt, university of arkansas, little rock no full 15 5f2dfdca-841f-47a9-a2bb-c224ddbf6d10 Andre Ramos-Woodard | Ep. 14 Raised in the Southern states of Tennessee and Texas, André Ramos-Woodard (he/ they) is a contemporary artist who uses their work to emphasize the repercussions of contemporary and historical discrimination. Primarily working with photo-based collage, text, and drawing, they convey ideas of communal and personal identity centralized within internal conflicts. Ramos-Woodard is influenced by their direct experience with life – he is queer and African American, both of which are obvious targets for discrimination. They use their art to accent spaces of both communal understanding and disconnect between them and the viewer, specifically those of Black liberation, queer justice, and those in positions of power and privilege that lack the information to critically recognize problems within minority groups in contemporary culture. Ramos-Woodard received his BFA from Lamar University in Beaumont, Texas, and is currently pursuing his MFA at The University of New Mexico in Albuquerque, New Mexico.

https://www.andreramoswoodard.com/

https://www.instagram.com/andreduane/?hl=en

https://edublog.pdnonline.com/2019/07/in-a-powerful-body-of-work-mfa-candidate-andre-ramos-woodard-explores-his-anxiety-and-depression.html

https://www.inthein-between.com/andre-ramos-woodard/

http://lenscratch.com/2020/07/andre-ramos-woodard-a-mediocre-ass-nigga/

https://digitalmag.pdnedu.com/pdnedu/fall_2019/MobilePagedArticle.action?articleId=1523601#articleId1523601

https://www.photographersofcolor.org/

https://www.instagram.com/photogsofcolor/

https://twitter.com/photogsofcolor

 

 

]]> Sat, 5 Dec 2020 00:48:49 +0000 art024@uark.edu (turner, aaron, trent bozeman, aaron turner, trent, andre ramos-woodard, bozeman, ramos, the center for photographers of color, andre, aaron r turner, woodard) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/andre-ramos-woodard-ep-14-fDSYv97Q Raised in the Southern states of Tennessee and Texas, André Ramos-Woodard (he/ they) is a contemporary artist who uses their work to emphasize the repercussions of contemporary and historical discrimination. Primarily working with photo-based collage, text, and drawing, they convey ideas of communal and personal identity centralized within internal conflicts. Ramos-Woodard is influenced by their direct experience with life – he is queer and African American, both of which are obvious targets for discrimination. They use their art to accent spaces of both communal understanding and disconnect between them and the viewer, specifically those of Black liberation, queer justice, and those in positions of power and privilege that lack the information to critically recognize problems within minority groups in contemporary culture. Ramos-Woodard received his BFA from Lamar University in Beaumont, Texas, and is currently pursuing his MFA at The University of New Mexico in Albuquerque, New Mexico.

https://www.andreramoswoodard.com/

https://www.instagram.com/andreduane/?hl=en

https://edublog.pdnonline.com/2019/07/in-a-powerful-body-of-work-mfa-candidate-andre-ramos-woodard-explores-his-anxiety-and-depression.html

https://www.inthein-between.com/andre-ramos-woodard/

http://lenscratch.com/2020/07/andre-ramos-woodard-a-mediocre-ass-nigga/

https://digitalmag.pdnedu.com/pdnedu/fall_2019/MobilePagedArticle.action?articleId=1523601#articleId1523601

https://www.photographersofcolor.org/

https://www.instagram.com/photogsofcolor/

https://twitter.com/photogsofcolor

 

 

]]> Andre Ramos-Woodard | Ep. 14 turner, aaron, trent bozeman, aaron turner, trent, andre ramos-woodard, bozeman, ramos, the center for photographers of color, andre, aaron r turner, woodard 00:58:01 Co-host University of Arkansas School of Art 1st Year MFA student Trent Bozeman in Conversation with Andre Ramos-Woodard. Co-host University of Arkansas School of Art 1st Year MFA student Trent Bozeman in Conversation with Andre Ramos-Woodard. thesis, whiteness, andre ramos woodard, african american, black man, police, trent bozeman, bipoc, photography, texas, photo, albuquerque, aaron turner, poc, mfa, blackness, whitness, america, queer, grad school, university of new mexico, art, trayvon martin, politics, photographers of color, interview, mexico, podcast, history, new mexico yes full 14 b461a9e7-18c8-4d9d-97a8-f9fa1408d8e5 Jasmine Clarke | Ep. 13 Jasmine Clarke is a 25-year-old photographer born (and based) in Brooklyn, New York. She graduated from Bard College in 2018 with a BA in Photography. Inspired by the surreal qualities of our waking world, her images play with the tension between fiction and reality. Her images have been shown at Howard Greenberg Gallery in Manhattan and are currently on view at Photoville in Brooklyn Bridge Park, the Photo Vogue Festival in Milan, and the National Center for Civil and Human Rights in Atlanta.

 When I look in the mirror, I want to believe that what I am seeing is an extension of myself even though I know that it isn’t. I’m seeing a reflection (an illusion) of me and my world. I can never quite trust a mirror. 

 A picture creates a similar false sense of reality. The nature of photography tells us that what we are seeing is true, but it’s not. It is a selective truth, or even a fiction.

One night in Jamaica, as my father and I drove through the mountains, he described a recurring dream: he is in his hometown, Saint Mary's, at a certain winding road that’s shaped like an N, trying to catch the bus. He misses it and has to run up the mountain through the bush and slide down the other side to catch it. This is his only dream set in Jamaica. He told me as we approached the N. I listened while chewing on my sugar cane. It’s strange hearing about a dreamscape while physically going through it—like déjà vu. 

I feel this sense of familiarity driving through my father’s dream. But what’s more overwhelming is the sensation of jamais vu: foreignness in what should be known. The moon you see, the air you breathe, and the flowers you smell are all suddenly unfamiliar. You’ve moved, traveled—maybe even transcended—although you don’t know to where. You look in the mirror and see yourself, but can’t be sure that it’s the same reflection you saw yesterday.

This is why I photograph: to capture a trace of the unexplainable. My pictures are where dreams meet the physical world and earthly things take on higher meaning. I search for the uncanny. I uncover what is hidden. An obscured face, a wet flower, a dark shadow.

http://jasmine-clarke.com/

https://www.instagram.com/jasmineclarke0/?hl=en

https://www.bard.edu/news/guardian-spotlights-work-by-grad-jasmine-clarke-18-in-photo-vogue-2020-11-10

https://www.vogue.it/fotografia/article/photo-vogue-festival-2020-all-in-this-together-30-photographers-exhibition

https://photoville.nyc/the-lit-list-2020-photographers-to-watch-exhibit-hire/

https://www.blueskygallery.org/upcoming-exhibitions

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/?hl=en

https://fulbright.uark.edu/departments/art/

https://www.instagram.com/uarkart/?hl=en

 

]]> Thu, 19 Nov 2020 20:52:11 +0000 art024@uark.edu (aaron r turner, turner, jasmine, aaron, jasmine clarke, clarke, aaron turner) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/jasmine-clarke-ep-13-DMcRW7c4 Jasmine Clarke is a 25-year-old photographer born (and based) in Brooklyn, New York. She graduated from Bard College in 2018 with a BA in Photography. Inspired by the surreal qualities of our waking world, her images play with the tension between fiction and reality. Her images have been shown at Howard Greenberg Gallery in Manhattan and are currently on view at Photoville in Brooklyn Bridge Park, the Photo Vogue Festival in Milan, and the National Center for Civil and Human Rights in Atlanta.

 When I look in the mirror, I want to believe that what I am seeing is an extension of myself even though I know that it isn’t. I’m seeing a reflection (an illusion) of me and my world. I can never quite trust a mirror. 

 A picture creates a similar false sense of reality. The nature of photography tells us that what we are seeing is true, but it’s not. It is a selective truth, or even a fiction.

One night in Jamaica, as my father and I drove through the mountains, he described a recurring dream: he is in his hometown, Saint Mary's, at a certain winding road that’s shaped like an N, trying to catch the bus. He misses it and has to run up the mountain through the bush and slide down the other side to catch it. This is his only dream set in Jamaica. He told me as we approached the N. I listened while chewing on my sugar cane. It’s strange hearing about a dreamscape while physically going through it—like déjà vu. 

I feel this sense of familiarity driving through my father’s dream. But what’s more overwhelming is the sensation of jamais vu: foreignness in what should be known. The moon you see, the air you breathe, and the flowers you smell are all suddenly unfamiliar. You’ve moved, traveled—maybe even transcended—although you don’t know to where. You look in the mirror and see yourself, but can’t be sure that it’s the same reflection you saw yesterday.

This is why I photograph: to capture a trace of the unexplainable. My pictures are where dreams meet the physical world and earthly things take on higher meaning. I search for the uncanny. I uncover what is hidden. An obscured face, a wet flower, a dark shadow.

http://jasmine-clarke.com/

https://www.instagram.com/jasmineclarke0/?hl=en

https://www.bard.edu/news/guardian-spotlights-work-by-grad-jasmine-clarke-18-in-photo-vogue-2020-11-10

https://www.vogue.it/fotografia/article/photo-vogue-festival-2020-all-in-this-together-30-photographers-exhibition

https://photoville.nyc/the-lit-list-2020-photographers-to-watch-exhibit-hire/

https://www.blueskygallery.org/upcoming-exhibitions

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/?hl=en

https://fulbright.uark.edu/departments/art/

https://www.instagram.com/uarkart/?hl=en

 

]]> Jasmine Clarke | Ep. 13 aaron r turner, turner, jasmine, aaron, jasmine clarke, clarke, aaron turner 00:49:01 Jasmine Clarke is a 25-year-old photographer born (and based) in Brooklyn, New York. She graduated from Bard College in 2018 with a BA in Photography. Inspired by the surreal qualities of our waking world, her images play with the tension between fiction and reality. Her images have been shown at Howard Greenberg Gallery in Manhattan and are currently on view at Photoville in Brooklyn Bridge Park, the Photo Vogue Festival in Milan, and the National Center for Civil and Human Rights in Atlanta. Jasmine Clarke is a 25-year-old photographer born (and based) in Brooklyn, New York. She graduated from Bard College in 2018 with a BA in Photography. Inspired by the surreal qualities of our waking world, her images play with the tension between fiction and reality. Her images have been shown at Howard Greenberg Gallery in Manhattan and are currently on view at Photoville in Brooklyn Bridge Park, the Photo Vogue Festival in Milan, and the National Center for Civil and Human Rights in Atlanta. thesis, bard, university of arkansas school of art, jasmine, stephen shore, aaron r turner, bard college, migration, art history, frank stewart, photographers of color podcast, turner, cpoc, photography, jasmine clarke, center for photographers of color, aaron turner, immigration, jazz, longform interview, jeffery gibson, reality, photogsofcolor, lyle ashton harris, truth, lorna simpson, arkansas, dream, art, uark art, clarke, family, hudsonvalley, gregory halpern, photography podcast, hudson valley, jamaica, interview, northwest arkansas, xaviera simmons, university of arkansas, olivia looking, hudson no full 13 293e4de3-61e5-48e7-9999-b2707e0bb137 Raymond Thompson Jr. | Ep. 12 Raymond Thompson Jr. is a photographer whose work focuses on race, identity and contested histories. He currently works as a Multimedia Producer at West Virginia University where is is also pursuing his MFA in photography. He received his MA in journalism from the University of Texas at Austin and a BA in American studies from the University of Mary Washington. His freelance clients include The New York Times, ProPublica, Google, Buzzfeed News, Merrell, NBC News, and the Associated Press. 

In the 1930s, migrant laborers came from all over the region to work on the construction of a 3-mile tunnel to divert the New River near Fayetteville, WV. During the process, workers were exposed to pure silica dust due to improper drilling techniques. Many developed a lung disease known as silicosis, which is estimated to have caused the death of nearly 800 workers. Up to two-thirds of those workers were African American. Besides a small plaque at the Hawks Nest State Park, which lists a significantly lower number than the actual number killed, there is very little to mark the site. There is also sparse visual documentation available about the event. There has been an effort to erase this tragic moment in history from the memory of West Virginia.


In Appalachian Ghosts, I explore visual possibilities of what that time and place looked like, using primary-source materials to recreate the workers’ experiences in photographs. I have also recontextualized and re-presented archive photographs, originally made to document the construction of the Hawks Nest Tunnel dam and powerhouse. The few people caught in the photographic archive were often nameless and voiceless workers. Specifically, I’m looking at what has been left out of African-American visual history, which to date has mainly been documented with a colonial gaze. From this standpoint, I have sought to re/create work that has been informed by and made from historical documents and photographs.

My research also focused on working with non-visual resources that inspired the creation of new works. I researched news clips, letters, poetry and other cultural resources looking for information that described the experience of working in the tunnel. I was particularly struck by a poem from Muriel Rukeyser’s book The Book of the Dead called “George Robinson: Blues:”

As dark as I am. when I came out at morning after the tunnel at night

with a white man, nobody could have told which man was white.

The dust had covered us both, and the dust was white.

-Muriel Rukeyser “The Book of the Dead”

Rukeyser’s book, along with other primary-source documents, inspired a series of images that focuses on the silica dust that covered everything at the work site.

http://www.raymondthompsonjr.com/

https://www.rustbeltbiennial.com/#winners

http://lenscratch.com/2020/07/raymond-thompson-jr-the-the-2020-lenscratch-student-prize-1st-place-winner/

https://vimeo.com/376951187

https://www.epistemmag.com/reclaiming-the-black-image-in-nature-and-in-photography/

https://www.photographersofcolor.org/

https://www.instagram.com/photogsofcolor/

https://twitter.com/photogsofcolor

 

 

]]> Thu, 10 Sep 2020 01:00:05 +0000 art024@uark.edu (aaron turner, raymond thompson, aaron, raymond thompson jr, aaron r turner, raymond) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/raymond-thompson-jr-ep-12-2EfDJAt4 Raymond Thompson Jr. is a photographer whose work focuses on race, identity and contested histories. He currently works as a Multimedia Producer at West Virginia University where is is also pursuing his MFA in photography. He received his MA in journalism from the University of Texas at Austin and a BA in American studies from the University of Mary Washington. His freelance clients include The New York Times, ProPublica, Google, Buzzfeed News, Merrell, NBC News, and the Associated Press. 

In the 1930s, migrant laborers came from all over the region to work on the construction of a 3-mile tunnel to divert the New River near Fayetteville, WV. During the process, workers were exposed to pure silica dust due to improper drilling techniques. Many developed a lung disease known as silicosis, which is estimated to have caused the death of nearly 800 workers. Up to two-thirds of those workers were African American. Besides a small plaque at the Hawks Nest State Park, which lists a significantly lower number than the actual number killed, there is very little to mark the site. There is also sparse visual documentation available about the event. There has been an effort to erase this tragic moment in history from the memory of West Virginia.


In Appalachian Ghosts, I explore visual possibilities of what that time and place looked like, using primary-source materials to recreate the workers’ experiences in photographs. I have also recontextualized and re-presented archive photographs, originally made to document the construction of the Hawks Nest Tunnel dam and powerhouse. The few people caught in the photographic archive were often nameless and voiceless workers. Specifically, I’m looking at what has been left out of African-American visual history, which to date has mainly been documented with a colonial gaze. From this standpoint, I have sought to re/create work that has been informed by and made from historical documents and photographs.

My research also focused on working with non-visual resources that inspired the creation of new works. I researched news clips, letters, poetry and other cultural resources looking for information that described the experience of working in the tunnel. I was particularly struck by a poem from Muriel Rukeyser’s book The Book of the Dead called “George Robinson: Blues:”

As dark as I am. when I came out at morning after the tunnel at night

with a white man, nobody could have told which man was white.

The dust had covered us both, and the dust was white.

-Muriel Rukeyser “The Book of the Dead”

Rukeyser’s book, along with other primary-source documents, inspired a series of images that focuses on the silica dust that covered everything at the work site.

http://www.raymondthompsonjr.com/

https://www.rustbeltbiennial.com/#winners

http://lenscratch.com/2020/07/raymond-thompson-jr-the-the-2020-lenscratch-student-prize-1st-place-winner/

https://vimeo.com/376951187

https://www.epistemmag.com/reclaiming-the-black-image-in-nature-and-in-photography/

https://www.photographersofcolor.org/

https://www.instagram.com/photogsofcolor/

https://twitter.com/photogsofcolor

 

 

]]> Raymond Thompson Jr. | Ep. 12 aaron turner, raymond thompson, aaron, raymond thompson jr, aaron r turner, raymond 01:01:15 In this episode we speak about Raymond’s career as a photojournalist, his project Appalachian Ghosts, current works in progress and much more. In this episode we speak about Raymond’s career as a photojournalist, his project Appalachian Ghosts, current works in progress and much more. nature, race, west, appalachia, african american, west virginia university, journalism, wv, photojournalism, photography, aaron turner, west virginia, mfa, photogsofcolor, woods, appalachian, fayetteville, art, black, virginia, mountians, photographers of color, community, art school, migrant laborers, university of arkansas, hawks nest state park, appalachian ghosts, history no full 12 32b8c214-9bcb-4719-81a5-c7b28951750f Akea Brionne Brown | Ep. 11 Tue, 4 Aug 2020 04:13:09 +0000 art024@uark.edu (Aaron Turner ) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/akea-brionne-brown-ep-11-5wKs0xcm Akea Brionne Brown | Ep. 11 Aaron Turner 01:21:08 no full 11 5cee9c8a-44c7-40d5-82ed-89f925aae556 Dannielle Bowman | Ep. 10 Bowman’s work investigates the histories of people left out of the grand historical narratives with which we are more familiar. Previous to this project, she photographed monuments, artifacts of antiquity, and landscapes of historical significance in the U.S. In What Had Happened, Bowman returns to where she grew up (the Baldwin Hills, Inglewood, and Crenshaw neighborhoods of Los Angeles, CA), opening her own history to ask questions about the role location and landscape play in personal evolution. 

The images recall the events, objects, and sites that mold us in order to explore themes of displacement, family history, and notions of home. Bowman asks how we remember what has marked us in a place we once called home and how that place informs who we are in the present.

Memories of place are nuanced, emotional, atmospheric, historical, and geographical; when we return to these sites they are never exactly as remembered and fail to fully complete the retelling of history. 

In these photographs the passing of time reveals itself in the shadows drifting over a backyard, in a carpeted staircase worn by years of feet treading its fibers, in the shifting earth cracking the sidewalk that lays over it. The double exposures and repeated imagery draw attention to the way that time alters our perception of locations. Collectively the images render parts of ourselves and the place we once called home lost to time.

Dannielle Bowman received a BFA from The Cooper Union and an MFA from the Yale School of Art, where she was awarded the 2018 Richard Benson Prize. She was recently awarded the 2020 Aperture Portfolio Prize and was a contributor to the New York Times Magazine's 1619 Project. Bowman has been an artist in residence at Baxter St at the Camera Club of New York; The Center for Photography at Woodstock; and PICTURE BERLIN. 

https://danniellebowman.com/

https://www.baxterst.org/what-had-happened/

https://aperture.org/blog/2020-portfolio-prize-dannielle-bowman/

https://pdnonline.com/photography-business/photo-clients/editorial-photography/behind-the-lens-picturing-slaverys-history-for-1619-project-of-new-york-times-magazine/

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/

https://fulbright.uark.edu/departments/art/

Thumbnail Image: ©Kathy Ryan 

 

]]> Sat, 23 May 2020 21:08:21 +0000 art024@uark.edu (Aaron Turner ) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/dannielle-bowman-ep-10-Gd3cabbb Bowman’s work investigates the histories of people left out of the grand historical narratives with which we are more familiar. Previous to this project, she photographed monuments, artifacts of antiquity, and landscapes of historical significance in the U.S. In What Had Happened, Bowman returns to where she grew up (the Baldwin Hills, Inglewood, and Crenshaw neighborhoods of Los Angeles, CA), opening her own history to ask questions about the role location and landscape play in personal evolution. 

The images recall the events, objects, and sites that mold us in order to explore themes of displacement, family history, and notions of home. Bowman asks how we remember what has marked us in a place we once called home and how that place informs who we are in the present.

Memories of place are nuanced, emotional, atmospheric, historical, and geographical; when we return to these sites they are never exactly as remembered and fail to fully complete the retelling of history. 

In these photographs the passing of time reveals itself in the shadows drifting over a backyard, in a carpeted staircase worn by years of feet treading its fibers, in the shifting earth cracking the sidewalk that lays over it. The double exposures and repeated imagery draw attention to the way that time alters our perception of locations. Collectively the images render parts of ourselves and the place we once called home lost to time.

Dannielle Bowman received a BFA from The Cooper Union and an MFA from the Yale School of Art, where she was awarded the 2018 Richard Benson Prize. She was recently awarded the 2020 Aperture Portfolio Prize and was a contributor to the New York Times Magazine's 1619 Project. Bowman has been an artist in residence at Baxter St at the Camera Club of New York; The Center for Photography at Woodstock; and PICTURE BERLIN. 

https://danniellebowman.com/

https://www.baxterst.org/what-had-happened/

https://aperture.org/blog/2020-portfolio-prize-dannielle-bowman/

https://pdnonline.com/photography-business/photo-clients/editorial-photography/behind-the-lens-picturing-slaverys-history-for-1619-project-of-new-york-times-magazine/

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/

https://fulbright.uark.edu/departments/art/

Thumbnail Image: ©Kathy Ryan 

 

]]> Dannielle Bowman | Ep. 10 Aaron Turner 00:55:01 During this podcast we talk about two bodies of work from Bowman: Here Now, in which she explores landscapes of historical significance in the U.S., monuments and artifacts found in museums and public spaces, all in an effort to investigate the histories of people left out of the grand historical narratives that we are more familiar The other body of work that we talk about is, What Had Happened, Bowman returns to where she grew up (the Baldwin Hills, Inglewood, and Crenshaw neighborhoods of Los Angeles, CA), opening her own history to ask questions about the role location and landscape play in personal evolution. With a particular interest in Black Baby Boomers and The Great Migration, which refers to the movement or relocation of more than 6 million African Americans from the rural South to the cities of the North, Midwest and West from about 1916 to 1970 During this podcast we talk about two bodies of work from Bowman: Here Now, in which she explores landscapes of historical significance in the U.S., monuments and artifacts found in museums and public spaces, all in an effort to investigate the histories of people left out of the grand historical narratives that we are more familiar The other body of work that we talk about is, What Had Happened, Bowman returns to where she grew up (the Baldwin Hills, Inglewood, and Crenshaw neighborhoods of Los Angeles, CA), opening her own history to ask questions about the role location and landscape play in personal evolution. With a particular interest in Black Baby Boomers and The Great Migration, which refers to the movement or relocation of more than 6 million African Americans from the rural South to the cities of the North, Midwest and West from about 1916 to 1970 no full 10 29fe2f15-a28c-41d1-8513-70f84fdeec55 Sama Alshaibi | Ep. 9 Sama Alshaibi’s practice examines the mechanisms displacement and fragmentation in the aftermath of war and exile. Her photographs, videos and immersive installations features the body, often her own, as either a gendered site or a geographic device, resisting oppressive political and social conditions. Alshaibi’s monograph, Sama Alshaibi: Sand Rushes In (New York: Aperture, 2015) presents her Silsila series, which probes the human dimensions of migration, borders, and environmental demise.

Alshaibi has been featured in several prominent biennials including the Maldives Pavilion at the 55th Venice Biennale (Italy), the 13th Cairo International Biennale (Egypt, 2019), the 2017 Honolulu Biennial (Hawaii), the 2016 Qalandia International Biennial (Haifa), and FotoFest Biennial, Houston (2014). Alshaibi's recently held solo exhibitions at Ayyam Gallery (Dubai, 2019) and at Artpace, where she was participated as the National Artist in Residence (San Antonio, 2019). Alshaibi received the 2019 Project Development Award from the Center (Santa Fe), 2018 Artist Grant from the Arizona Commission on The Arts, and the 2017 Visual Arts Grant from the Arab Fund for Arts and Culture (Beirut). Alshaibi was awarded the prestigious Fulbright Scholar Fellowship in 2014-2015 as part of a year long residency at the Palestine Museum in Ramallah, where she developed an education program while conducting independent research.

Alshaibi has exhibited her work in over 20 national and international solo exhibitions including Artpace, Texas (2019), Ayyam Gallery (2019), NYU Abu Dhabi (2019), the Johnson Museum of Art at Cornell University, NY (2017), Scottsdale Museum of Contemporary Art, Arizona (2016); Ayyam Gallery, Dubai (2015); Ayyam Gallery, London (2015); Lawrie Shabibi, Dubai (2011) and Selma Feriani Gallery, London (2010). Her over 150 group exhibitions include Pen + Brush Gallery (NYC, 2019), American University Museum (Washington D.C., 2018), 2018 Breda Photo Festival (Netherlands), Tucson Museum of Art, Arizona (2017); Marta Herford Museum of Art, Germany (2017), CCS Bard Hessel Museum and Galleries, New York (2017); Museum De Wieger, The Netherlands (2017); Palais De La Culture Constantine, Algeria (2015); Pirineos Sur Festival, Spain (2015); Arab American National Museum, Michigan (2015); Abu Dhabi Festival (2015); Photo Shanghai (2014); Venice Art Gallery, Los Angeles (2013); University of Southampton (2013); Edge of Arabia, London (2012); HilgerBROTKunsthalle, Vienna (2012); Institut Du Monde Arabe, Paris (2012); Maraya Art Centre, Sharjah (2012); and Headlands Center for the Arts, California (2011). She has also exhibited at the Bronx Museum in NYC, and the Museum of Contemporary Art in Denver, CO. Her over 40 time-based works (video art and films) have screened in numerous film festivals internationally, including Mapping Subjectivity, MoMA (NYC), 24th Instants Video Festival (Mexico and France), Madrid Palestine Film Festival, Thessaloniki International Film Festival (Greece) and DOKUFEST (Kosovo). Her art residencies include Artpace International Artist Residency (San Antonio), Darat al Funun (Amman), A.M. Qattan Foundation (Ramallah) and Lightwork (NY).

Alshaibi's works have been collected by public institutions internationally, including the Center for Creative Photography (Tuscon), the Johnson Museum of Art at Cornell (NY), The Houston Museum of Art (Texas), Nadour (Germany), the Barjeel Collection (Sharjah), En Foco (NYC), and the Museum of Modern and Contemporary Art in Tunis (Tunisia). She has been featured in Photo District News, L’Oile de la Photographie, The Washington Post, Lensculture, NY Times, Ibraaz, Bluin Artinfo, Contact Sheet, Contemporary Practices, Harpar’s Bazaar, The Guardian, CNN, Huffington Post and Hysteria.

Born in Basra to an Iraqi father and Palestinian mother, Sama Alshaibi is based in the United States where she is Professor of Photography, Video and Imaging at the University of Arizona, Tucson. Alshaibi holds a BA in Photography from Columbia College and an MFA in Photography, Video, and Media Arts from the University of Colorado at Boulder. Alshaibi is represented by Ayyam Gallery.
 

http://www.samaalshaibi.com/

http://www.ayyamgallery.com/artists/sama-alshaibi

https://crystalbridges.org/exhibitions/state-of-the-art-2/

https://www.artsy.net/artwork/sama-alshaibi-the-cessation

https://www.artpace.org/works/iair/iair_spring_2019/until-total-liberation

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/

https://fulbright.uark.edu/departments/art/

]]> Fri, 1 May 2020 05:00:03 +0000 art024@uark.edu (Aaron Turner ) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/sama-alshaibi-ep-9-wd0c9GsS Sama Alshaibi’s practice examines the mechanisms displacement and fragmentation in the aftermath of war and exile. Her photographs, videos and immersive installations features the body, often her own, as either a gendered site or a geographic device, resisting oppressive political and social conditions. Alshaibi’s monograph, Sama Alshaibi: Sand Rushes In (New York: Aperture, 2015) presents her Silsila series, which probes the human dimensions of migration, borders, and environmental demise.

Alshaibi has been featured in several prominent biennials including the Maldives Pavilion at the 55th Venice Biennale (Italy), the 13th Cairo International Biennale (Egypt, 2019), the 2017 Honolulu Biennial (Hawaii), the 2016 Qalandia International Biennial (Haifa), and FotoFest Biennial, Houston (2014). Alshaibi's recently held solo exhibitions at Ayyam Gallery (Dubai, 2019) and at Artpace, where she was participated as the National Artist in Residence (San Antonio, 2019). Alshaibi received the 2019 Project Development Award from the Center (Santa Fe), 2018 Artist Grant from the Arizona Commission on The Arts, and the 2017 Visual Arts Grant from the Arab Fund for Arts and Culture (Beirut). Alshaibi was awarded the prestigious Fulbright Scholar Fellowship in 2014-2015 as part of a year long residency at the Palestine Museum in Ramallah, where she developed an education program while conducting independent research.

Alshaibi has exhibited her work in over 20 national and international solo exhibitions including Artpace, Texas (2019), Ayyam Gallery (2019), NYU Abu Dhabi (2019), the Johnson Museum of Art at Cornell University, NY (2017), Scottsdale Museum of Contemporary Art, Arizona (2016); Ayyam Gallery, Dubai (2015); Ayyam Gallery, London (2015); Lawrie Shabibi, Dubai (2011) and Selma Feriani Gallery, London (2010). Her over 150 group exhibitions include Pen + Brush Gallery (NYC, 2019), American University Museum (Washington D.C., 2018), 2018 Breda Photo Festival (Netherlands), Tucson Museum of Art, Arizona (2017); Marta Herford Museum of Art, Germany (2017), CCS Bard Hessel Museum and Galleries, New York (2017); Museum De Wieger, The Netherlands (2017); Palais De La Culture Constantine, Algeria (2015); Pirineos Sur Festival, Spain (2015); Arab American National Museum, Michigan (2015); Abu Dhabi Festival (2015); Photo Shanghai (2014); Venice Art Gallery, Los Angeles (2013); University of Southampton (2013); Edge of Arabia, London (2012); HilgerBROTKunsthalle, Vienna (2012); Institut Du Monde Arabe, Paris (2012); Maraya Art Centre, Sharjah (2012); and Headlands Center for the Arts, California (2011). She has also exhibited at the Bronx Museum in NYC, and the Museum of Contemporary Art in Denver, CO. Her over 40 time-based works (video art and films) have screened in numerous film festivals internationally, including Mapping Subjectivity, MoMA (NYC), 24th Instants Video Festival (Mexico and France), Madrid Palestine Film Festival, Thessaloniki International Film Festival (Greece) and DOKUFEST (Kosovo). Her art residencies include Artpace International Artist Residency (San Antonio), Darat al Funun (Amman), A.M. Qattan Foundation (Ramallah) and Lightwork (NY).

Alshaibi's works have been collected by public institutions internationally, including the Center for Creative Photography (Tuscon), the Johnson Museum of Art at Cornell (NY), The Houston Museum of Art (Texas), Nadour (Germany), the Barjeel Collection (Sharjah), En Foco (NYC), and the Museum of Modern and Contemporary Art in Tunis (Tunisia). She has been featured in Photo District News, L’Oile de la Photographie, The Washington Post, Lensculture, NY Times, Ibraaz, Bluin Artinfo, Contact Sheet, Contemporary Practices, Harpar’s Bazaar, The Guardian, CNN, Huffington Post and Hysteria.

Born in Basra to an Iraqi father and Palestinian mother, Sama Alshaibi is based in the United States where she is Professor of Photography, Video and Imaging at the University of Arizona, Tucson. Alshaibi holds a BA in Photography from Columbia College and an MFA in Photography, Video, and Media Arts from the University of Colorado at Boulder. Alshaibi is represented by Ayyam Gallery.
 

http://www.samaalshaibi.com/

http://www.ayyamgallery.com/artists/sama-alshaibi

https://crystalbridges.org/exhibitions/state-of-the-art-2/

https://www.artsy.net/artwork/sama-alshaibi-the-cessation

https://www.artpace.org/works/iair/iair_spring_2019/until-total-liberation

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/

https://fulbright.uark.edu/departments/art/

]]> Sama Alshaibi | Ep. 9 Aaron Turner 01:45:26 I finally had the chance to hear Sama Alshaibi speak in late February during a lecture on campus at the University of Arkansas. She was in town for the 2020 State of the Art exhibition opening at Crystal Bridges Museum of American Art & The Momentary. During this episode we talk about Sama's earliest significant memory of photography, the early years of her practice, and take a deep dive into influences surrounding the work. I finally had the chance to hear Sama Alshaibi speak in late February during a lecture on campus at the University of Arkansas. She was in town for the 2020 State of the Art exhibition opening at Crystal Bridges Museum of American Art & The Momentary. During this episode we talk about Sama's earliest significant memory of photography, the early years of her practice, and take a deep dive into influences surrounding the work. no full 9 763b2600-f356-4309-a3d5-83444fdd2920 Lonnie Graham | Ep. 8 Lonnie Graham, is an artist, photographer and cultural activist whose work addresses the integral role of the artist in society and seeks to re-establish artists as creative problem solvers. Lonnie Graham is a Pew Fellow and Professor at Pennsylvania State University. Professor Graham is formerly Acting Associate Director of the Fabric Workshop and Museum in Philadelphia Pennsylvania. Graham also served as Director of Photography at Manchester Craftsmen’s Guild in Pittsburgh, Pennsylvania, an urban arts organization dedicated to arts and education for at risk youth. There, Graham developed innovative pilot projects merging Arts and Academics, which were ultimately cited by, then, First Lady Hillary Clinton as a National Model for Arts Education. Professor Graham also served as instructor of special projects and oral historian for the Original Barnes Foundation in Merion Pennsylvania. in 1986 Prof. Graham authored a project entitled, "A Conversation with the World" which has been commissioned in various iterations in a number of countries around the world.

https://conversationwiththeworldcalgary.org/

https://sova.psu.edu/profile/lonniegraham

https://www.lightwork.org/archive/lonnie-graham/

https://www.datzpress.kr/publications/aconverstationwiththeworld

Episode thumbnail image: by Erin Hall

]]> Fri, 20 Mar 2020 17:57:12 +0000 art024@uark.edu (lonniegraham, aaronturner, lonnie, turner, aaron, graham) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/lonnie-graham-ep-8-bHEH3Y2J Lonnie Graham, is an artist, photographer and cultural activist whose work addresses the integral role of the artist in society and seeks to re-establish artists as creative problem solvers. Lonnie Graham is a Pew Fellow and Professor at Pennsylvania State University. Professor Graham is formerly Acting Associate Director of the Fabric Workshop and Museum in Philadelphia Pennsylvania. Graham also served as Director of Photography at Manchester Craftsmen’s Guild in Pittsburgh, Pennsylvania, an urban arts organization dedicated to arts and education for at risk youth. There, Graham developed innovative pilot projects merging Arts and Academics, which were ultimately cited by, then, First Lady Hillary Clinton as a National Model for Arts Education. Professor Graham also served as instructor of special projects and oral historian for the Original Barnes Foundation in Merion Pennsylvania. in 1986 Prof. Graham authored a project entitled, "A Conversation with the World" which has been commissioned in various iterations in a number of countries around the world.

https://conversationwiththeworldcalgary.org/

https://sova.psu.edu/profile/lonniegraham

https://www.lightwork.org/archive/lonnie-graham/

https://www.datzpress.kr/publications/aconverstationwiththeworld

Episode thumbnail image: by Erin Hall

]]> Lonnie Graham | Ep. 8 lonniegraham, aaronturner, lonnie, turner, aaron, graham 01:13:58 Episode 8 guest: Lonnie Graham During this episode we talk about the various stops along the way in Lonnie's distinguished and collaborative career; time spent at the Manchester Craftsmen’s Guild and the original Barnes Foundation, his numerous community projects, also his philosophy on the artist being able to use the community as a palate and how that ties into the role of the modern artist. Episode 8 guest: Lonnie Graham During this episode we talk about the various stops along the way in Lonnie's distinguished and collaborative career; time spent at the Manchester Craftsmen’s Guild and the original Barnes Foundation, his numerous community projects, also his philosophy on the artist being able to use the community as a palate and how that ties into the role of the modern artist. university of arkansas school of art, photographersofcolorpodcast, visualarts, universityofarkansas, graham, turner, photography, photo, installationart, photographersofcolor, barnesfoundation, aaron, pennstateschoolofvisualarts, photogsofcolor, pittsburgh, arkansas, art, pennstate, lonnie, lonniegraham, interview, photographers, history no full 8 8513f4bf-d336-4a57-b952-af8579ae8385 Jamal Cyrus | Ep. 7 Jamal Cyrus (born 1973, Houston, TX) received his BFA from the University of Houston in 2004 and his MFA from the University of Pennsylvania in 2008. In 2005 he attended the Skowhegan School of Painting and Sculpture, and in 2010 he was an Artist in Residence at Artpace San Antonio. Cyrus has won several awards, including the Driskell Prize, awarded by the High Museum of Art, Atlanta, GA; a BMW Art Journy; the Louis Comfort Tiffany Foundation Award; the Artadia Houston Award, and the Smithsonian Artist Research Fellowship. He has participated in national and international exhibitions, including Direct Message: Art, Language and Power at the Museum of Contemporary Art, Chicago, IL (2019); The Freedom Principle: Experiments in Art and Music, 1965 – Now, Museum of Contemporary Art Chicago, Chicago, IL (traveled to ICA Philadelphia, 2016); Arresting Patterns, ArtSpace, New Haven, CT (traveled to the African American Museum in Philadelphia, 2016); two exhibitions at the Studio Museum, Harlem (both 2013); the Contemporary Arts Museum, Houston (2012); the New Museum, New York (2011); The Kitchen, New York (2009); the Museum of London Docklands, London (2009); and The Office Baroque Gallery, Antwerp (2007). In 2006 Cyrus was included in Day for Night, the 2006 Whitney Biennial at the Whitney Museum of American Art.

Cyrus is also a member of the artist collective Otabenga Jones and Associates. As a member of the collective, Cyrus has exhibited at Lawndale Art Center, Houston (2014), Project Row Houses, Houston (2014), the High Museum of Art, Atlanta (2008), the Smithsonian National Museum of African American History and Culture, Washington, DC (2008), the California African American Museum, Los Angeles (2008), the Menil Collection, Houston (2007), the 2006 Whitney Biennial, and Clementine Gallery, New York (2006). Cyrus’s and Otabenga Jones's work has been reviewed in Artlies, The Houston Chronicle, Houston Magazine, and The New York Times. Cyrus participated in the New Orleans triennial, Prospect.4, with Otabanga Jones.

Jamal Cyrus lives and works in Houston, TX.

https://inmangallery.com/index.html

https://inmangallery.com/artists/cyrus_jamal/bio.html

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/?hl=en

https://fulbright.uark.edu/departments/art/

https://www.photographersofcolor.org/

]]> Thu, 5 Mar 2020 04:23:41 +0000 art024@uark.edu (Jamal Cyrus, Tay Butler, Aaron Turner) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/jamal-cyrus-ep-7-gJ3jLPh8 Jamal Cyrus (born 1973, Houston, TX) received his BFA from the University of Houston in 2004 and his MFA from the University of Pennsylvania in 2008. In 2005 he attended the Skowhegan School of Painting and Sculpture, and in 2010 he was an Artist in Residence at Artpace San Antonio. Cyrus has won several awards, including the Driskell Prize, awarded by the High Museum of Art, Atlanta, GA; a BMW Art Journy; the Louis Comfort Tiffany Foundation Award; the Artadia Houston Award, and the Smithsonian Artist Research Fellowship. He has participated in national and international exhibitions, including Direct Message: Art, Language and Power at the Museum of Contemporary Art, Chicago, IL (2019); The Freedom Principle: Experiments in Art and Music, 1965 – Now, Museum of Contemporary Art Chicago, Chicago, IL (traveled to ICA Philadelphia, 2016); Arresting Patterns, ArtSpace, New Haven, CT (traveled to the African American Museum in Philadelphia, 2016); two exhibitions at the Studio Museum, Harlem (both 2013); the Contemporary Arts Museum, Houston (2012); the New Museum, New York (2011); The Kitchen, New York (2009); the Museum of London Docklands, London (2009); and The Office Baroque Gallery, Antwerp (2007). In 2006 Cyrus was included in Day for Night, the 2006 Whitney Biennial at the Whitney Museum of American Art.

Cyrus is also a member of the artist collective Otabenga Jones and Associates. As a member of the collective, Cyrus has exhibited at Lawndale Art Center, Houston (2014), Project Row Houses, Houston (2014), the High Museum of Art, Atlanta (2008), the Smithsonian National Museum of African American History and Culture, Washington, DC (2008), the California African American Museum, Los Angeles (2008), the Menil Collection, Houston (2007), the 2006 Whitney Biennial, and Clementine Gallery, New York (2006). Cyrus’s and Otabenga Jones's work has been reviewed in Artlies, The Houston Chronicle, Houston Magazine, and The New York Times. Cyrus participated in the New Orleans triennial, Prospect.4, with Otabanga Jones.

Jamal Cyrus lives and works in Houston, TX.

https://inmangallery.com/index.html

https://inmangallery.com/artists/cyrus_jamal/bio.html

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/?hl=en

https://fulbright.uark.edu/departments/art/

https://www.photographersofcolor.org/

]]> Jamal Cyrus | Ep. 7 Jamal Cyrus, Tay Butler, Aaron Turner 01:17:50 Episode seven features a conversation with Houston based artist Jamal Cyrus, and co-host Tay Butler, a graduate assistant with the Center for Photographers of Color and fist year MFA student here at the University of Arkansas. We discuss Jamal's use of photography within his studio practice and his most recent show with Inman Gallery in Houston, Tx titled 'Currents and Currencies' which took place November 8, 2019 – January 11, 2020. Episode seven features a conversation with Houston based artist Jamal Cyrus, and co-host Tay Butler, a graduate assistant with the Center for Photographers of Color and fist year MFA student here at the University of Arkansas. We discuss Jamal's use of photography within his studio practice and his most recent show with Inman Gallery in Houston, Tx titled 'Currents and Currencies' which took place November 8, 2019 – January 11, 2020. arkansas school of art, foto fest, aaronturner, inman gallery, spe national conference, hou, tx, spe, jamal cyrus, houston texas no full 7 9748ca1b-cc22-4fdb-99d3-4d2202be4b05 Andrea Morales | Ep. 6 Andrea Morales (b. 1984, Lima, Peru) is a documentary photographer based in Memphis, TN and a producer at the Southern Documentary Project at the University of Mississippi. She grew up in Miami’s Little Havana and earned a B.S. in journalism from the University of Florida, as well as a M.A. in photography from Ohio University. She is currently a candidate for an MFA in documentary expression at the University of Mississippi’s Center for Study of Southern Culture.

Before the South, she moved around the country in between while working for different newspapers, including the El Sentinel (in South Florida) and The New York Times. Most recently, she was on staff as a photographer at the Concord Monitor in New Hampshire, where she covered barn dances, ox pulls and presidential elections, all with equal joy.

http://www.andreamoralesphoto.com/

https://www.instagram.com/_andrea_morales/

https://southdocs.org/

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/

]]> Sun, 10 Nov 2019 15:23:28 +0000 art024@uark.edu (Center for photographers of color, Aaron Turner, Andrea Morales) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/andrea-morales-ep-6-eT5IyG5J Andrea Morales (b. 1984, Lima, Peru) is a documentary photographer based in Memphis, TN and a producer at the Southern Documentary Project at the University of Mississippi. She grew up in Miami’s Little Havana and earned a B.S. in journalism from the University of Florida, as well as a M.A. in photography from Ohio University. She is currently a candidate for an MFA in documentary expression at the University of Mississippi’s Center for Study of Southern Culture.

Before the South, she moved around the country in between while working for different newspapers, including the El Sentinel (in South Florida) and The New York Times. Most recently, she was on staff as a photographer at the Concord Monitor in New Hampshire, where she covered barn dances, ox pulls and presidential elections, all with equal joy.

http://www.andreamoralesphoto.com/

https://www.instagram.com/_andrea_morales/

https://southdocs.org/

https://www.photographersofcolor.org/

https://twitter.com/photogsofcolor

https://www.instagram.com/photogsofcolor/

]]> Andrea Morales | Ep. 6 Center for photographers of color, Aaron Turner, Andrea Morales 01:41:37 In this episode, I speak with Andrea Morales southern-based documentary photographer working between Memphis, Tennessee & Oxford, Mississippi, where she is currently a producer at the Southern Documentary Project at the University of Mississippi. She grew up in Miami’s Little Havana and earned a B.S. in journalism from the University of Florida, as well as an M.A. in photography from Ohio University. She is also an MFA candidate in documentary expression at the University of Mississippi’s Center for Study of Southern Culture. We talk about Andrea's childhood growing up in Miami, both of our times spent at Ohio University, her projects Jemeska’s Story in Glouster, Ohio, and her Roll Down like Water project in Memphis, Tennessee. In this episode, I speak with Andrea Morales southern-based documentary photographer working between Memphis, Tennessee & Oxford, Mississippi, where she is currently a producer at the Southern Documentary Project at the University of Mississippi. She grew up in Miami’s Little Havana and earned a B.S. in journalism from the University of Florida, as well as an M.A. in photography from Ohio University. She is also an MFA candidate in documentary expression at the University of Mississippi’s Center for Study of Southern Culture. We talk about Andrea's childhood growing up in Miami, both of our times spent at Ohio University, her projects Jemeska’s Story in Glouster, Ohio, and her Roll Down like Water project in Memphis, Tennessee. university of arkansas school of art, ou, university of mississippi, memphis brooks museum, oral history, mississippi, photography, photogs of color, aaron turner, tennessee, center for photographer of color, andrea morales, memphis, ohio university, arkansas, art, documentary, photographers of color, university of arkansas, research yes full 6 37167122-3f48-4004-8294-5a22dfda5e29 Rachelle Mozman Solano | Ep.5 BIO:
Rachelle Mozman Solano grew up in New York City of parents who shared the experience of immigration. She works between New York and Panama the country of her maternal family. Starting often from her biography and family history Mozman Solano explores how culture shapes individuals, how environment conditions behavior. Her work is concerned with the intersection of mythology, history, economics, and the psyche through photographs and films that confound fact and fictional narrative. In her work narrative is explored as inherent to our humanity and shaped by perception. Mozman Solano’s art is deeply informed by her clinical work in psychoanalysis. In 2019 Mozman Solano will exhibit Metamorphosis of Failure at Smack Mellon, Brooklyn, NY, and in 2018 she exhibited El espejo opaco de Gauguin in Arteconsult, Panamá, Panamá. In 2017 she exhibited in A New Region of the World at Bunkier Sztuki, Kraków, Poland and LARA (Latin American Roaming Art), Panamá, Panamá. In 2016 Mozman Solano exhibited in the X Bienal Centroaméricana and in 2015 she exhibited in Do/Tell at the Institute of Contemporary Art at the University of Pennsylvania, and Portraiture Now: Staging the Self at Americas Society. Mozman Solano has been awarded residencies at LMCC workspace, Smack Mellon, The Camera Club of New York, and Light Work. Her work has been published in the Light Work annual Contact Sheet, Presumed Innocence, Exit magazine and numerous other publications.

Mozman is a Fulbright Fellow, and has exhibited at the National Portrait Gallery at Smithsonian Institution, Washington D.C, the Americas Society, New York, New York, National Hispanic Cultural Center, Albuquerque, New Mexico, The Studio Museum in Harlem, New York, New York, the Chelsea Museum, New York, New York, The DeCordova Sculpture Park and Museum, Lincoln, Massachusetts, the Museum of Latin American Art, Long Beach, California, the Shore Institute of Contemporary Art, Long Branch, New Jersey, Festival de la luz at the Centro Cultural Recoleta, Buenos Aires, Argentina the Instituto Cultural Itau, São Paulo, Brazil, the Friese Museum, Berlin, Germany, the Museo Nacional de Bellas Artes, Santiago, Chile, Museo Nacional de Artes Visuales, Montevideo, Uruguay, Centro Cultural de España, Mexico City, Mexico, Festival Biarritz, Biarritz, France, as well as the IX Bienal de Cuenca, Ecuador.

This podcast is made possible by the University of Arkansas School of Art endowment.

http://www.rachellemozman.com/

https://www.instagram.com/rachellemozman/?hl=en

https://twitter.com/photogsofcolor?lang=en

https://www.instagram.com/photogsofcolor/

]]> Sat, 24 Aug 2019 11:00:11 +0000 art024@uark.edu (Rachelle Mozman Solano, Aaron Turner) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/rachelle-mozman-solano-ep5-O1J5xjef BIO:
Rachelle Mozman Solano grew up in New York City of parents who shared the experience of immigration. She works between New York and Panama the country of her maternal family. Starting often from her biography and family history Mozman Solano explores how culture shapes individuals, how environment conditions behavior. Her work is concerned with the intersection of mythology, history, economics, and the psyche through photographs and films that confound fact and fictional narrative. In her work narrative is explored as inherent to our humanity and shaped by perception. Mozman Solano’s art is deeply informed by her clinical work in psychoanalysis. In 2019 Mozman Solano will exhibit Metamorphosis of Failure at Smack Mellon, Brooklyn, NY, and in 2018 she exhibited El espejo opaco de Gauguin in Arteconsult, Panamá, Panamá. In 2017 she exhibited in A New Region of the World at Bunkier Sztuki, Kraków, Poland and LARA (Latin American Roaming Art), Panamá, Panamá. In 2016 Mozman Solano exhibited in the X Bienal Centroaméricana and in 2015 she exhibited in Do/Tell at the Institute of Contemporary Art at the University of Pennsylvania, and Portraiture Now: Staging the Self at Americas Society. Mozman Solano has been awarded residencies at LMCC workspace, Smack Mellon, The Camera Club of New York, and Light Work. Her work has been published in the Light Work annual Contact Sheet, Presumed Innocence, Exit magazine and numerous other publications.

Mozman is a Fulbright Fellow, and has exhibited at the National Portrait Gallery at Smithsonian Institution, Washington D.C, the Americas Society, New York, New York, National Hispanic Cultural Center, Albuquerque, New Mexico, The Studio Museum in Harlem, New York, New York, the Chelsea Museum, New York, New York, The DeCordova Sculpture Park and Museum, Lincoln, Massachusetts, the Museum of Latin American Art, Long Beach, California, the Shore Institute of Contemporary Art, Long Branch, New Jersey, Festival de la luz at the Centro Cultural Recoleta, Buenos Aires, Argentina the Instituto Cultural Itau, São Paulo, Brazil, the Friese Museum, Berlin, Germany, the Museo Nacional de Bellas Artes, Santiago, Chile, Museo Nacional de Artes Visuales, Montevideo, Uruguay, Centro Cultural de España, Mexico City, Mexico, Festival Biarritz, Biarritz, France, as well as the IX Bienal de Cuenca, Ecuador.

This podcast is made possible by the University of Arkansas School of Art endowment.

http://www.rachellemozman.com/

https://www.instagram.com/rachellemozman/?hl=en

https://twitter.com/photogsofcolor?lang=en

https://www.instagram.com/photogsofcolor/

]]> Rachelle Mozman Solano | Ep.5 Rachelle Mozman Solano, Aaron Turner 00:53:41 Rachelle Mozman Solano, Brooklyn based artist and Professor of the Practice in Digital Media and Photography at School of the Museum of Fine Arts at Tufts University. In this episode we talk about two of Mozman Solanos films and three of her photographic projects which deal with a range of topics from the United Fruit Company in Panama, Paul Gaugin, immigration, assimilation, class, identity, and family. Rachelle Mozman Solano, Brooklyn based artist and Professor of the Practice in Digital Media and Photography at School of the Museum of Fine Arts at Tufts University. In this episode we talk about two of Mozman Solanos films and three of her photographic projects which deal with a range of topics from the United Fruit Company in Panama, Paul Gaugin, immigration, assimilation, class, identity, and family. photography, tufts university, rachelle mozman solano, aaron turner, panama, art, film, photographers of color, university of arkansas, smfa boston, paul gaugin no full 5 3e56f922-f059-418f-80c4-3910e60aca9d Claire A. Warden | Ep. 4 Claire's work explores intersecting ideas of identity, the other, and the psychology of knowledge and power. The constructed photograph is integral to her arts practice. She received her BFA in Photography and BA in Art History from Arizona State University.

Claire’s work has been exhibited in the United States and abroad including solo exhibitions of Mimesis at the Center for Fine Art Photography, the Colorado Photographic Arts Center and Art Intersection.

She received an Artist Research and Development Grant from the Arizona Commission on the Arts, an Individual Artist Grant Award supported by the Creative Capacity Fund and the Contemporary Forum Artist Grant.

Most recently she has been in residence at LATITUDE in CHICAGO, and had a solo exhibition at the Philadelphia Photo Arts Center. Claire will also be giving a lecture at the Society for photographic education north west conference this September.

Website: https://www.claireawarden.com
IG: https://www.instagram.com/claireawarden/
99 Moons Project: https://www.instagram.com/99moonsproject/

https://www.instagram.com/photogsofcolor/
https://twitter.com/photogsofcolor

]]> Sat, 6 Jul 2019 15:00:01 +0000 art024@uark.edu (aaron turner, claire warden, claire a warden) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/claire-a-warden-ep-4-9LtU_z8I Claire's work explores intersecting ideas of identity, the other, and the psychology of knowledge and power. The constructed photograph is integral to her arts practice. She received her BFA in Photography and BA in Art History from Arizona State University.

Claire’s work has been exhibited in the United States and abroad including solo exhibitions of Mimesis at the Center for Fine Art Photography, the Colorado Photographic Arts Center and Art Intersection.

She received an Artist Research and Development Grant from the Arizona Commission on the Arts, an Individual Artist Grant Award supported by the Creative Capacity Fund and the Contemporary Forum Artist Grant.

Most recently she has been in residence at LATITUDE in CHICAGO, and had a solo exhibition at the Philadelphia Photo Arts Center. Claire will also be giving a lecture at the Society for photographic education north west conference this September.

Website: https://www.claireawarden.com
IG: https://www.instagram.com/claireawarden/
99 Moons Project: https://www.instagram.com/99moonsproject/

https://www.instagram.com/photogsofcolor/
https://twitter.com/photogsofcolor

]]> Claire A. Warden | Ep. 4 aaron turner, claire warden, claire a warden 01:09:55 In this episode we talk about Claire’s childhood and being asked the question “What are you?” in relation to her outward appearance, and how this question lead to the use of ambiguity through abstraction within her work today, in which she deals with the topics of identity, genetics, and representation. In this episode we talk about Claire’s childhood and being asked the question “What are you?” in relation to her outward appearance, and how this question lead to the use of ambiguity through abstraction within her work today, in which she deals with the topics of identity, genetics, and representation. mimesis, race, abstraction, arizona state university, representation, asu, identity, what are you?, photography, ambiguity, clair warden, claire a. warden, genetics, pheonix, art, salt, biology no full 4 6d528393-1b9d-4509-93e5-8c85cda2c4cd Andrew Jackson | Ep.3 Andrew Jackson is an artist interested in exploring the challenges of selfhood, representation and narration. His works focus on transnational migration, home, belonging, relatedness, space & place, memory, family and storytelling. As well as the ways in which photography can challenge, reshape, revise and disseminate history, and it's telling, within discreet, intimate and personal ways.

He is an award-winning recipient of the Autograph ABP /Light Work (AIR) International Photography Residency in Syracuse, New York and a graduate of the MA Documentary photography program at Newport in Wales.

In 2018, he was shortlisted for the Elliott Erwitt Fellowship and the Magnum Foundation Social Justice fellowship. His most recent work, titled Another Place Like Home a photographic and text-based work that explores our inherent desire to belong, was commissioned by Multistory.

Website: https://www.andrewjackson.photography
Another Place Like Home: https://andrewjackson.anotherplacelikehome.com
IG: https://www.instagram.com/andrewjacksonphotographer/

https://www.instagram.com/photogsofcolor/
https://twitter.com/photogsofcolor

]]> Sat, 6 Jul 2019 15:00:01 +0000 art024@uark.edu (Aaron Turner, andrew jackson, aaron turner) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/andrew-jackson-ep3-9CCPb1Ie Andrew Jackson is an artist interested in exploring the challenges of selfhood, representation and narration. His works focus on transnational migration, home, belonging, relatedness, space & place, memory, family and storytelling. As well as the ways in which photography can challenge, reshape, revise and disseminate history, and it's telling, within discreet, intimate and personal ways.

He is an award-winning recipient of the Autograph ABP /Light Work (AIR) International Photography Residency in Syracuse, New York and a graduate of the MA Documentary photography program at Newport in Wales.

In 2018, he was shortlisted for the Elliott Erwitt Fellowship and the Magnum Foundation Social Justice fellowship. His most recent work, titled Another Place Like Home a photographic and text-based work that explores our inherent desire to belong, was commissioned by Multistory.

Website: https://www.andrewjackson.photography
Another Place Like Home: https://andrewjackson.anotherplacelikehome.com
IG: https://www.instagram.com/andrewjacksonphotographer/

https://www.instagram.com/photogsofcolor/
https://twitter.com/photogsofcolor

]]> Andrew Jackson | Ep.3 Aaron Turner, andrew jackson, aaron turner 01:34:05 In this episode we talk about Andrew’s parents and their migration from Jamaica to Britain, how this shaped his sense of belonging, immigration, the historical and contemporary politics of the UK, and how combined all these things inform his practice as an artist. We go into detail about two of his projects: 'From A Small Island' & 'Another Place Like Home' In this episode we talk about Andrew’s parents and their migration from Jamaica to Britain, how this shaped his sense of belonging, immigration, the historical and contemporary politics of the UK, and how combined all these things inform his practice as an artist. We go into detail about two of his projects: 'From A Small Island' & 'Another Place Like Home' andrew jackson, birmingham, photography, another place like home, britian, great britian, autograph, abp, from a small island, oralhistory, photogsofcolor, lightwork, art, j, jamaica, uk, photographer of color no full 3 b9bc44f9-2372-4e9c-9d4d-9330b7ea17c6 Bethany Mollenkof | Ep. 2 Bethany Mollenkof is a filmmaker + photographer based in Los Angeles, CA. She creates both short documentary and still photography focused at the intersections of gender, identity and culture. Through portraits and interviews she finds meaning in telling stories that reframe familiar narratives.

Awards include: Women Photograph Grantee, 2019, Glassbreaker Films Grantee, 2018, The Los Angeles Times Team Pulitzer Prize, 2016, Eddie Adams workshop class of XXVII, POYI

In this episode, we talk about Bethany’s time at the LA times, what it’s like to be a woman of color in the industry today, freelancing, and her latest project on women working midwifery in Alabama

https://www.bethanymollenkof.com/
https://www.instagram.com/fancybethany/?hl=en

https://twitter.com/photogsofcolor?lang=en
https://www.instagram.com/photogsofcolor/

This podcast is made possible by the University of Arkansas School of Art

]]> Fri, 14 Jun 2019 05:00:03 +0000 art024@uark.edu (bethany mollenkof, Aaron Turner) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/bethany-mollenkof-ep-2-9Zfd1CRS Bethany Mollenkof is a filmmaker + photographer based in Los Angeles, CA. She creates both short documentary and still photography focused at the intersections of gender, identity and culture. Through portraits and interviews she finds meaning in telling stories that reframe familiar narratives.

Awards include: Women Photograph Grantee, 2019, Glassbreaker Films Grantee, 2018, The Los Angeles Times Team Pulitzer Prize, 2016, Eddie Adams workshop class of XXVII, POYI

In this episode, we talk about Bethany’s time at the LA times, what it’s like to be a woman of color in the industry today, freelancing, and her latest project on women working midwifery in Alabama

https://www.bethanymollenkof.com/
https://www.instagram.com/fancybethany/?hl=en

https://twitter.com/photogsofcolor?lang=en
https://www.instagram.com/photogsofcolor/

This podcast is made possible by the University of Arkansas School of Art

]]> Bethany Mollenkof | Ep. 2 bethany mollenkof, Aaron Turner 01:04:08 In this episode, we talk about Bethany’s time at the LA times, what it’s like to be a woman of color in the industry today, freelancing, and her latest project on women working midwifery in Alabama In this episode, we talk about Bethany’s time at the LA times, what it’s like to be a woman of color in the industry today, freelancing, and her latest project on women working midwifery in Alabama photojournalsim, bethany mollenkof, photography, western kentucky university, aaron turner, mid wife, midwifry, alabama, la, womenphotograph, filmmaker, colifornia, art, freelance photography, university of arkansas, podcast, women photograph no full 2 tag:soundcloud,2010:tracks/628589508 Zora J Murff | Ep. 1 Zora Murff received his MFA in Studio Art from the University of Nebraska–Lincoln and holds a BS in Psychology from Iowa State University. Combining his education in human services and art, Zora’s work explores how photography is intertwined with social and cultural constructs.

His work has been exhibited nationally, internationally, and featured in various publications such as Aperture Magazine, The New Yorker, VICE Magazine, The British Journal of Photography, and The New York Times.

Zora was named a 2019 Aperture Portfolio Prize finalist, also, an honoree for PDN’s 30: New & Emerging Photographers to Watch, was and selected for the 2019 Light Work Artist-in-Residence Program.

http://www.zora-murff.com/
https://www.instagram.com/zorajmurff/?hl=en

https://www.instagram.com/photogsofcolor/
https://twitter.com/photogsofcolor

]]> Wed, 29 May 2019 20:22:53 +0000 art024@uark.edu (zora j murff, Aaron Turner) https://the-center-for-photographers-of-color-podcast.simplecast.com/episodes/zora-j-murff-ep-1-Ty8JSR7p Zora Murff received his MFA in Studio Art from the University of Nebraska–Lincoln and holds a BS in Psychology from Iowa State University. Combining his education in human services and art, Zora’s work explores how photography is intertwined with social and cultural constructs.

His work has been exhibited nationally, internationally, and featured in various publications such as Aperture Magazine, The New Yorker, VICE Magazine, The British Journal of Photography, and The New York Times.

Zora was named a 2019 Aperture Portfolio Prize finalist, also, an honoree for PDN’s 30: New & Emerging Photographers to Watch, was and selected for the 2019 Light Work Artist-in-Residence Program.

http://www.zora-murff.com/
https://www.instagram.com/zorajmurff/?hl=en

https://www.instagram.com/photogsofcolor/
https://twitter.com/photogsofcolor

]]> Zora J Murff | Ep. 1 zora j murff, Aaron Turner 01:20:24 In this episode we discuss Zora’s childhood, his beginnings in photography, recent accolades, mentors and influencers, and a little bit about his thoughts on being a black photographer. In this episode we discuss Zora’s childhood, his beginnings in photography, recent accolades, mentors and influencers, and a little bit about his thoughts on being a black photographer. apeture portfolio prize, photography, aaron turner, dais books, zora j murff, art, university of arkansas, nebraska, at no point in between no full 1