SPANDITA MALIK, JĀḶĪ—MESHES OF RESISTANCE
The artist expands upon her photographic series Nā́rī, a project that she began as a graduate student at Parsons School of Design in 2019. For Nā́rī, she traveled to small communities in India known for their distinct embroidery styles and places where women learn handicraft to gain financial independence…
SHIRIN NESHAT, THE FURY
The Fury, comprising a double-channel video installation and a series of black and white photographs. Shot in June 2022, The Fury seeks to capture the Zeitgeist: a sense of foreboding and dread sparked by the resurgence of fascism that we are witnessing…
NONA FAUSTINE, MY COUNTRY
In “My Country,” Faustine confronts and interrogates iconic American monuments, such as the Lincoln Memorial and the Statue of Liberty, using her camera to reframe conventional, colonialist perspectives, and reinserting some of the truth and trauma behind these memorialized spaces…
MICHÈLE PEARSON CLARKE, SUCK TEETH COMPOSITIONS, 2018
This three-channel video and sound installation presents a choral symphony structured around the everyday Caribbean oral gesture of sucking teeth. Referred to variously as kiss teeth, steups, chups, and stchoops, to suck teeth is to produce a sound by sucking in air through the teeth, while pressing the tongue against the upper or lower teeth, with the lips pursed or slightly flattened…
LAURA ANDERSON BARBATA, INTERVENTION: WALL STREET, 2011
Intervention: Wall Street was conceived as a response to the dire economic crisis that became most evident in 2008 which today afflicts not only Americans but has impacted 99% of the global population…
KHADIJA SAYE, DWELLING: IN THIS SPACE WE BREATHE
The series was created out of the artist’s personal need for spiritual grounding after experiencing trauma. This work is based on the search for what gives meaning to our lives and what we hold onto in times of despair and life changing challenges. We exist in the marriage of physical and spiritual remembrance...
MELISSA GRACE KREIDER, WORTHY
Worthy is a photographic investigation exploring the realities that criminalized survivors of intimate partner violence face in the U.S. carceral system after acting in self-defense…
SADIE BARNETTE, THE FBI PROJECT, 2016-ONGOING
The FBI Project (2016 — ongoing) employs a variety of material interventions engaging the FBI’s 500-page surveillance file amassed on my father, Rodney Barnette, during his time organizing with the Black Panther Party and helping Angela Davis in her fight for exoneration…
LATOYA RUBY FRAZIER, PIER 54: A HUMAN RIGHT TO PASSAGE, 2014
In Pier 54: A Human Right to Passage, Frazier pays homage to her predecessors, documentary photographers of the late 19th century in which she shares the desire to comment on social, political, and economic conditions…
ASIA STEWART, LA NÉGRESSE BLANCHE
La Négresse blanche is a six hour performance that marks the beginning of Stewart's Graft series. The piece is titled after Mayotte Capecia’s book of the same name and draws off of selections from Frantz Fanon’s Black Skin, White Masks…
VANESSA CHARLOT, BLACK WOMAN'S SHADOW
In America, she lives in a perpetual state of trauma. To survive, she moves performatively through life, without processing her anguish. She symbolizes what has become the American norm—grieving, coping and healing in the shadows while carrying the burden that is one’s Blackness…
AMBER N. FORD, MISTAKEN IDENTITY, 2018
The series, Mistaken Identity, shown in the group exhibition A Color Removed, tackles the question, “Who has the right to safety?” by presenting a collection of images of everyday objects that have been mistaken as weapons and led to the deaths of people of color at the hands of law enforcement officers…
PAZ ERRÁZURIZ, LA MANZANA DE ADÁN (ADAM’S APPLE)
The need to investigate environments wholly condemned in the oppressive context of the Chilean dictatorship (1973–90) led the photographer Paz Errázuriz to embark on a project on marginalized subjects that she would pursue over the course of several years…
SANDRA BREWSTER, ROOTS, 2021-2022
In her outdoor photographic installation, Roots, Toronto-based artist Sandra Brewster explores the long history of Black presence in the urban wilderness. Developed during her tenure as Koerner Artist in Residence at Evergreen Brick Works, the photographs document the area’s plant life, greeting visitors as they explore the valley…
IMANI DENNISON AND LATETRA METTS-OWENS, NAKED TRUTH
In the series titled “Naked Truth,” a collaboration between fine artist Latetra Metts-Owens and Photographer, Imani Dennison, explores the truth behind people naked selves. In phase one of this project, subjects were interviewed and recorded on film, revealing things about themselves that were both uncomfortable and secret…
MONA HATOUM, DEEP THROAT, 1996
Mona Hatoum has set the table for us with this artwork, Deep Throat, from 1996. The installation includes a table, roughly 3 feet square and just over 4 feet high, covered in a tablecloth with a single place setting and wooden chair in front of it…
FINA MIRALLES, RELACIONS, RELACIÓ DEL COS AMB ELEMENTS NATURALS. EL COS COBERT DE PALLA, 1975
Her practice reconfigures the concept of the artistic, within the multiplicity of attitudes that blur what traditional historiography had encompassed under the heading of Conceptual art. The history of art has ascribed Miralles’ production to the Conceptual, Land art or even feminism, without attending to the breadth and complexity of her ideas, which challenge the limits of those labels…
KENNEDI CARTER, RIDIN’ SUCKA FREE
Ridin’ Sucka Free is a series that came about during conversations surrounding Black life in relation to horsemanship and agriculture. Pop culture’s interest in Black cowboys quickly rose following the release of Lil Nas X’s song Old Town Road…
WHITNEY HUBBS, SELECT WORKS
My work is born out of looking and being engaged with both past and contemporary photography. It is also born out of unique, individual experiences. The work I’ve encountered lately has been looking at itself in the mirror, and now I’m looking at myself in the mirror per se. A personal kind of self-reflection…
RENEE COX, IT SHALL BE NAMED, 1994
In this 1992 work by Cox, a collage in the shape of a crucifix, is intricately constructed from several manipulated photographic negatives…