David Wojnarowicz wore this jacket in 1988, just 4 years before he’d ultimately die from AIDS. Sadly, just a few years ago some of his artistic work was censored at the Smithsonian. People in power are still content to try and erase his history and the continued struggles of people with AIDS.
Hi! Yes! I hope to print more this week. Apologies to those who have tried to order, I was (am) totally unprepared. Workin’ on it, though.
Amy getting personal with some mushrooms at the Alaska Native Heritage Center in Anchorage, November 2013.
'Shrooming with Ella in AK.
Amy at Sea-Tac, October 2013
20 hours of travel: UNHAPPY.
By Ellamarie Quimby.
I got a roll of film developed that was rolling around in my film bag forever, unlabeled. Turns out it was from the first trip I took to Richmond with my ex-sweetheart just over a year ago.
Another crop of Richmond livin’ from my cell phone.
(thanks to the wondeful Emily Mason for the picture)
Last night I gave a talk at Maryland Art Place that was about my work as an artist and a curator. Framed as a presentation of my own curatorial research from the past year, I highlighted 10 emerging photographers that I feel are making extremely important and contemporary work who I think are really going to start being recognized in the coming years. My secondary goal was to highlight the importance of opening up more of a dialogue surrounding the inclusion of women of color in the discourse of contemporary photography, and by extension, the arts in general.
I also emphasized that I was using the word woman specifically as a self identification marker rather than an something assigned to someone and that I had made the choice to be genderqueer and trans*-questioning inclusive in my selection of artists. Similarly, I use the designation of ‘person of color’ in the same way - self identified, and thus including artists who were mixed race. Emerging was also a designation I made sure to define not only as ‘young’, but rather, those who are currently at the beginnings of a career.
If anyone is interested in the powerpoint, you can see it here!
Here is the list of artists I talked about last night and their websites:
Janna Ireland (jannaireland.com)
Jessica Xie (jessicaxie.com)
Amy June Breesman (amyjunebreesman.com)
Hobbes Ginsberg (hhobbess.tumblr.com)
Vivian Fu (vivianfu.com)
Genevieve Gaignard (creativecurvyginger.tumblr.com)
Christina Barrera (cargocollective.com/christinabee)
Groana Melendez (groanamelendez.com)
Roxana Azar (roxanaazar.com)
Endia Beal (cargocollective.com/endiabeal)
Elle is the coolest and I am really lucky to be a part of this list, and moreover part of the greater community of young female-identified photographers. Many thanks.
Must reblog. Bravo Daniel!
PHOTO BY DANIEL SHEA
Tom Jones, “Aneesha Decorra, I Love Pocahontas,” 1999
fts The Ho Chunk People
I hope to give both the tribe and the outside world a perspective from someone who comes from within the Ho Chunk community, creating a new understanding of how the Ho Chunk live in the twenty-first century. By doing so, I strive to educate the outside world about the tribe, giving access to experiences and places that the non-Ho Chunk would normally be deprived of.
Historically it has been outsiders who have taken these photographs of Native Americans. We have generally been represented with beads and feathers; this example can be seen through the extraordinary photographic portrayals of Edward Curtis. While this is an aspect of our life the emphasis of my current body of work is focused on the members of my tribe and the environments in which they live, giving a name and face to the individuals and their way of life in our own time. Like many Native Americans the Ho Chunk People still adhere to traditional ways in spite of adapting to the white culture that surrounds them.
First and foremost, I am ever mindful of my responsibility to the tribe and to carry on a sense of pride about who and what we are as a people.
Tom Jones, “The Cherokee,” 2006
fts “Native Commodity”
The series “Native” Commodity documents the visual rhetoric of all things “Native” within the Wisconsin Dells and looks at how the images of Native Americans are reproduced and reframed into a collective memory that is at times distorted.
Recently Received: Picturing Indians by Steven D. Hoelscher
"Bennett, struggling to keep his photography business alive, capitalized on America’s comfortably nostalgic image of Native peoples as a vanishing race, no longer threatening and now safe for white consumption."
I probably hate this book (save for the last chapter where the irony of cultural documentation of Native Americans via H. H. Bennett’s white guy lens is accounted for and placed side-by-side in comparision with the photography of a member of the Ho-Chunk tribe).
Willimantic, Connecticut, March 2013