PAT WARD WILLIAMS, ACCUSED BLOWTORCH PADLOCK, 1986
One of Williams’ best known works is Accused/Blowtorch/Padlock (1986), which consists of an image of a black man tied to a tree (originally published in Life magazine in 1937 and not attributed to a specific photographer), surrounded by text expressing the artist's reaction to this image…
ZORA J MURFF, THE DEVIL HIDING IN PLAIN SIGHT
In this collection of collages, Murff uses methodologies of enlightened witnessing and appropriation to demonstrate how a global conspiracy of anti-Black genocide has existed and continues to persist through systemic oppression…
SUZANNE WRIGHT, SELECT COLLAGES
For Joseph Campbell each person’s life can be seen as a mythical journey into the unknown, to discover the true self. It is about leaving behind the familiar, the comfortable and the safe to embark on a process involving danger, confusion and loss…
ENRIQUE CASTREJON, INTIMATE EMBRACES
I create measured drawings, paintings, sound pieces to investigate, question and describe what I see in varied images of pop-culture, architecture, war, senseless acts of violence, disease, fragmented bodies, and death…
WANGECHI MUTU, HISTOLOGY OF THE DIFFERENT CLASSES OF UTERINE TUMORS, 2006
This set of twelve mixed-media works was made early in Mutu’s career, at a point when her practice was focused on collage. Drawing from disparate sources including medical journals, fashion magazines, pornography, and ethnographic texts, Mutu’s way of critiquing these publications is to cut them up and reassemble them for her own means…
NJAIMEH NJIE, DID YOU GET EVERYTHING?
What do we take, and what is left behind when we leave home? With audio and visual collage, this installation takes visitors inside the collective memory of a fictional family that is leaving their home...
MARTHA ROSLER, BODY BEAUTIFUL, OR BEAUTY KNOWS NO PAIN, 1966–72
This group of thirty-two photomontages extracts depictions of women’s bodies from popular media sources—glossy print ads and men’s magazines—and reassembles them in ways that upend the original messages...
WENDY RED STAR, AMNÍA (ECHO), 2021
Photography is an integral aspect of Wendy Red Star’s multi-disciplinary practice. Amnía (Echo) captures Red Star’s singular approach to examining how photography supports the crafting of identity—personal and communal—by interweaving archival and contemporary images with historical narratives…
RENLUKA MAHARAJ, LAMBI KAHANI
My family’s history as indentured laborers in Trinidad and Tobago has been a point of departure for ongoing dialogue and research. My work is ultimately autobiographical and is influenced by the narratives, myths and folklore born from the women who migrated from India to the Caribbean…
ASIA STEWART, DREAMGURL
Stewart was inspired to begin this series after a video of her 2020 performance “La Négresse blanche,” which includes nudity, was downloaded by an anonymous Vimeo user named “J” and shared on various pornographic sites without her consent in February 2021…
LINDA TROELLER, TB-AIDS DIARY
The careful assemblage of personal images and texts that make up Linda Troeller's TB-AIDS Diary confronts the social stigma of disease in a manner that is at once gentle and uncompromising…
CLARISSA SLIGH, REFRAMING THE PAST
Reframing the Past (1984-1994) could also be titled Re-Reading the Family Album. From 1984 to 1994, Sligh’s work centered on a re-investigation and re-evaluation of her family’s photo album…
TROY MONTES-MICHIE, SELECTED COLLAGES, 2013/2014
The themes I’m exploring are the intersections of race and gender and the exotification of the black male body. A lot of the more recent works I’ve been doing are images of black men from pornography that are cut up and collaged…