The 1619 Project is a major initiative from The New York Times led by Nikole Hannah-Jones, observing the 400th anniversary of the beginning of American slavery. It aims to reframe the country’s history, understanding 1619 as our true founding, and placing the consequences of slavery and the contributions of black Americans at the very center of the story we tell ourselves about who we are. Read interactive version online or you can download a pdf of the entire August 18 New York Times Magazine here: https://pulitzercenter.org/sites/default/files/full_issue_of_the_1619_project.pdf
Available to purchase, read or download here: https://openbookpublishers.com/product/840.
This book came out of conference in Florence, Italy that I was honored to be a part of. It is an incredible resource.
Introduction: Women and Migration[s]
Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson
Part One: Imagining Family and Migration 11
- Between Self and Memory
- Fragments of Memory: Writing the Migrant’s Story
- A Congolese Woman’s Life in Europe: A Postcolonial Diptych of Migration
Part Two: Mobility and Migration
- Carrying Memory
- Making Through Motion
- Strange Set of Circumstances: White Artistic Migration and Crazy Quilt
- Nora Holt: New Negro Composer and Jazz Age Goddess
Cheryl A. Wall
Part Three: Understanding Pathways
- Silsila: Linking Bodies, Deserts, Water
- My Baby Saved My Life: Migration and Motherhood in an American High School
- Visualizing Displacement Above The Fold
- Unveiling Violence: Gender and Migration in the Discourse of Right-Wing Populism
- A Different Lens
- Reinventing the Spaces Within: The Early Images of Artist Lalla Essaydi
- Swimming with E. C.
Part Four: Reclaiming Our Time
- Kinship, the Middle Passage, and the Origins of Racial Slavery
Jennifer L. Morgan
- Black Women’s Work: Resisting and Undoing Character Education and the ‘Good’ White Liberal Agenda
Bettina L. Love
- Filipina Stories: Gabriela NY and Justice for Mary Jane Veloso
- Women & Migrations: African Fashion’s Global Takeover
- What Would It Mean to Sing A Black Girl’s Song?: A Brief Statement on the Reality of Anti-Black Girl Terror
Treva B. Lindsey
Part Five: Situated at the Edge
- Fredi’s Migration: Washington’s Forgotten War on Hollywood
- Julia de Burgos: Cultural Crossing and Iconicity
- Sarah Parker Remond’s Black American Grand Tour
- Making Latinx Art: Juana Valdes at the Crossroads of Latinx and Latin American Art
- Moving Mountains: Harriet Hosmer’s Nineteenth-Century Italian Migration to Become the First Professional Woman Sculptor
Part Six: Transit, Transiting, and Transition
- Urban Candy: Screens, Selfies and Imaginings
- Controlled Images and Cultural Reassembly: Material Black Girls Living in an Avatar World
- Supershero Amrita Simla, Partitioned Once, Migrated Twice
Sarah K. Khan
- Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement
- The Performance of Doubles: The Transposition of Gender and Race in Ming Wong’s Life of Imitation
Kalia Brooks Nelson
Part Seven: The World is Ours, Too
- The Roots of Black American Women’s Internationalism: Migrations of the Spirit and the Heart
Francille Rusan Wilson
- ‘The World is Ours, Too’: Millennial Women and the New Black Travel Movement
Tiffany M. Gill
- Performing a Life: Mattie Allen McAdoo’s Odyssey from Ohio to South Africa, Australia and Beyond, 1890–1900
- ‘I Don’t Pay Those Borders No Mind At All’: Audley E. Moore (‘Queen Mother’ Moore) – Grassroots Global Traveler and Activist
- Löis Mailou Jones in the World
Part Eight: Emotional Cartography: Tracing the Personal
- The Ones Who Leave… the Ones Who Are Left: Guyanese Migration Story
Grace Aneiza Ali
- The Acton Photograph Archive: Between Representation and Re-Interpretation
- Reconciliations at Sea: Reclaiming the Lusophone Archipelago in Mónica de Miranda’s Video Works
M. Neelika Jayawardane
- Transnational Minor Literature: Cristina Ali Farah’s Somali Italian Stories
Alessandra Di Maio
- Seizing Control of the Narrative
- Migration as a Woman’s Right: Stories from Comparative and Transnational Slavery Histories in the North Atlantic and Indian Ocean Worlds
- The Sacred Migration of Sister Gertrude Morgan
Now that you have seen the table of contents, you will really want the free download
Too often as we put our blogs together we think about what we like personally but don’t really give a lot of thought to how others may view the same pages. In the end, the goal is to have others to be able to read our blogs and enjoy them, but are we making small mistakes that could be making it difficult for others to enjoy our blogs? Here are a few thoughts from some of our bloggers on things that often make it difficult for them to access blogs and websites.
I will be adding underlines to my links.
One of my art heroes who continues to inspire me…
“The act of sewing together each piece of cloth in an act of reparation, of knitting our own peace and is especially important at this time of uncertainty,” -Doris Salcedo
In an act of protest against a civil conflict that has raged for more than 50 years, the plaza was covered in a massive white shroud bearing the names of the war’s many victims.
The public statement of mourning by artist Doris Salcedo was temporarily installed as the country grapples with the rejection of a peace deal with leftist Farc rebels that would have ended the war. [read more]
More on the intervention in an article on Hyperallergic
Watch this video for more on/by Doris Salcedo >>
And even more on this great artist on Art 21
And her Guggenheim exhibition is a great resource.
We live in an era of increasing automation. But as machines make more decisions for us, it is increasingly important to understand the algorithms that produce their judgments.
Living in the age of algorithms and how they affect our lives.
Superflex’s Hospital Equipment Goes to Gaza
“Casualties of recent fighting in the Gaza Strip may well find themselves undergoing surgery atop an operating table that is also an artwork. In what the three-man Danish collective Superflex calls a “readymade upside-down,” the artists organized for a museum exhibition of top-of-the-line medical equipment which then went to a setting defined less by well-heeled visitors than by life-threatening injuries.
“[I realized] I can’t tell your story, I can only tell mine. I can’t be you, I can only be me,”
An important and inspiring read with need to know history > The Storyteller: At 85, Her Star Still Rising, Faith Ringgold Looks Back on Her Life in Art, Activism, and Education
Ringgold’s original plan had been to study art. But when she showed up at City College’s School of Liberal Arts, she was informed that it did not admit women. “They’re sitting there trying to make me understand that I cannot get a liberal arts degree there,” she said, “and I am refusing to understand. And out of it, one woman says”—Ringgold dropped her voice to a whisper—“ ‘She can do it. Let me tell you how. She can [enroll in the School of Education] and major in art.’ ”
Great piece from ArtForum on the Laura Poitras exhibition at the Whitney. Includes excerpts from her diaries.
excerpt from diaries:
By asking people to lie down in Bed Down Location, I want them to enter an empathetic space and imagine drone warfare—not simply to understand it from news articles but to ponder the sky and imagine that there is a machine flying above you that could end your life at any moment. What does that feel like? Many people in the world are living under skies where that is a reality. [read article]
Holland Cotter in the NY Times also has a good, informative review
[The title, Astro Noise, refers to the faint background disturbance of thermal radiation left over from the Big Bang and is the name Edward Snowden gave to an encrypted file containing evidence of mass surveillance by the National Security Agency that he shared with Poitras in 2013. ]
W.A.G.E. HAS BEEN FORMED BECAUSE WE, AS VISUAL + PERFORMANCE ARTISTS AND INDEPENDENT CURATORS, PROVIDE A WORK FORCE.
W.A.G.E. RECOGNIZES THE ORGANIZED IRRESPONSIBILITY OF THE ART MARKET AND ITS SUPPORTING INSTITUTIONS, AND DEMANDS AN END OF THE REFUSAL TO PAY FEES FOR THE WORK WE’RE ASKED TO PROVIDE: PREPARATION, INSTALLATION, PRESENTATION, CONSULTATION, EXHIBITION AND REPRODUCTION.
W.A.G.E. REFUTES THE POSITIONING OF THE ARTIST AS A SPECULATOR AND CALLS FOR THE REMUNERATION OF CULTURAL VALUE IN CAPITAL VALUE.
W.A.G.E. BELIEVES THAT THE PROMISE OF EXPOSURE IS A LIABILITY IN A SYSTEM THAT DENIES THE VALUE OF OUR LABOR.
AS AN UNPAID LABOR FORCE WITHIN A ROBUST ART MARKET FROM WHICH OTHERS PROFIT GREATLY, W.A.G.E. RECOGNIZES AN INHERENT EXPLOITATION AND DEMANDS COMPENSATION.
W.A.G.E. CALLS FOR AN ADDRESS OF THE ECONOMIC INEQUALITIES THAT ARE PREVALENT, AND PROACTIVELY PREVENTING THE ART WORKER’S ABILITY TO SURVIVE WITHIN THE GREATER ECONOMY.
W.A.G.E. ADVOCATES FOR DEVELOPING AN ENVIRONMENT OF MUTUAL RESPECT BETWEEN ARTIST AND INSTITUTION.
W.A.G.E. DEMANDS PAYMENT FOR MAKING THE WORLD MORE INTERESTING.
Founded in 2008, Working Artists and the Greater Economy (W.A.G.E.) is a New York-based activist organization focused on regulating the payment of artist fees by nonprofit art institutions and establishing a sustainable labor relation between artists and the institutions that contract their labor.