Abstract:In this interview, artists Jason Patterson and Lauren Frances Adams discuss the history of white supremacy in America and how it shapes their own experiences and artistic subject matter. Patterson is an artist whose work consists of portraiture and the recreation of historical documents. He also designs and builds ornate wood frames that house his portraits and paper artifacts. These frames aesthetically reference the design of the time periods of his subject matter. Patterson's artwork centers around Black history in the United States, but his recent work has focused on the Black history of Maryland's Eastern Shore. Adams' paintings and installations engage museum collections and commemorative landscapes to address historical memory and craft traditions. Both artists describe their process of working with archival subject matter and generating ideas in relationship to education, literature, landscape, genealogy and philosophy. They discuss recent projects about 19th and 20th century histories of Chapel Hill, North Carolina and Baltimore City and Maryland's Kent County.
{"title":"\"Necessary Contemplation\"","authors":"Lauren Adams, J. Patterson","doi":"10.1353/scu.2022.0031","DOIUrl":"https://doi.org/10.1353/scu.2022.0031","url":null,"abstract":"Abstract:In this interview, artists Jason Patterson and Lauren Frances Adams discuss the history of white supremacy in America and how it shapes their own experiences and artistic subject matter. Patterson is an artist whose work consists of portraiture and the recreation of historical documents. He also designs and builds ornate wood frames that house his portraits and paper artifacts. These frames aesthetically reference the design of the time periods of his subject matter. Patterson's artwork centers around Black history in the United States, but his recent work has focused on the Black history of Maryland's Eastern Shore. Adams' paintings and installations engage museum collections and commemorative landscapes to address historical memory and craft traditions. Both artists describe their process of working with archival subject matter and generating ideas in relationship to education, literature, landscape, genealogy and philosophy. They discuss recent projects about 19th and 20th century histories of Chapel Hill, North Carolina and Baltimore City and Maryland's Kent County.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48639551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay looks at Chickasaw anti-Blackness within experiences of settler colonialism, removal, and slavery in the South as well as Chickasaw refusals to address the complicities of slave-owning in the nation. Drawing on the author's own family history to think through the possibilities and failures to link Indigeneity and slavery, the essay considers what is inherited and what is lost in the violences of dispossession.
{"title":"Loves and Secrets","authors":"Jodi A. Byrd","doi":"10.1353/scu.2022.0026","DOIUrl":"https://doi.org/10.1353/scu.2022.0026","url":null,"abstract":"Abstract:This essay looks at Chickasaw anti-Blackness within experiences of settler colonialism, removal, and slavery in the South as well as Chickasaw refusals to address the complicities of slave-owning in the nation. Drawing on the author's own family history to think through the possibilities and failures to link Indigeneity and slavery, the essay considers what is inherited and what is lost in the violences of dispossession.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44910770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this essay, I blend genres—invoking the conventions of ekphrastic, academic, and memoir writing—to piece together stories that function as fodder for simultaneously illuminating and probing the well-established link between trauma and violence. A transgenerational mapping of tales, the essay illustrates interconnectedness among the historical, social, cultural, and familial contexts of and reasons for trauma vis-à-vis the following questions: What knowledge is owed to us, the living, by the dead? What do we owe the dead? What truths do we deserve to reclaim? What must we remember if we are to weather assaults on our (Indigenous)ways of knowing and being? What knowledge of ourselves do we have a right to (re)write in our own voices?
{"title":"My Inheritance","authors":"Esther O. Ohito","doi":"10.1353/scu.2022.0023","DOIUrl":"https://doi.org/10.1353/scu.2022.0023","url":null,"abstract":"Abstract:In this essay, I blend genres—invoking the conventions of ekphrastic, academic, and memoir writing—to piece together stories that function as fodder for simultaneously illuminating and probing the well-established link between trauma and violence. A transgenerational mapping of tales, the essay illustrates interconnectedness among the historical, social, cultural, and familial contexts of and reasons for trauma vis-à-vis the following questions: What knowledge is owed to us, the living, by the dead? What do we owe the dead? What truths do we deserve to reclaim? What must we remember if we are to weather assaults on our (Indigenous)ways of knowing and being? What knowledge of ourselves do we have a right to (re)write in our own voices?","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47228251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Haunted by a deceptively simple question of origin, this is a story of Black bodies, unmoored from ancestral homelands, re-membering that which was—and continues to be—dismembered by colonialism. It is, too, a story of possibilities and priorities, of Black bodies, in the wake of transatlantic displacement, renewing our allegiance to earth, and water, and the tending of life.
{"title":"Of Clay and Wonder","authors":"Chérie Rivers Ndaliko","doi":"10.1353/scu.2022.0014","DOIUrl":"https://doi.org/10.1353/scu.2022.0014","url":null,"abstract":"Abstract:Haunted by a deceptively simple question of origin, this is a story of Black bodies, unmoored from ancestral homelands, re-membering that which was—and continues to be—dismembered by colonialism. It is, too, a story of possibilities and priorities, of Black bodies, in the wake of transatlantic displacement, renewing our allegiance to earth, and water, and the tending of life.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44747871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Gordon Parks made a series of photographs for the Farm Security Administration in 1942. Parks intended to document the impact of racial bigotry on Black communities in Washington D.C., and found a resilient subject in Ella Watson, a Black woman who cleaned federal offices. This moment produced the iconic "American Gothic" portrait Parks made of Watson in the building that evening. But Watson also brought Parks to other critical spaces in her life, including her home altar and her worship community at the St. Martin's Spiritual Center. This essay meditates on the images of Watson's religious life. Walking with Watson into the sanctuary and documenting spiritualists' dynamic forms of worship helped Parks to focus his lens on the fullness of Black living beyond the burdens of systemic racism. The photographs help us to visualize how sacred liberatory spirit emerges in solitude and in collectivity, moving both within and beyond the walls of the sanctuary.
{"title":"Walking with Ella Watson: Photography, Interiority, and the Spiritual Church Movement in the Work of Gordon Parks","authors":"Jovonna Jones","doi":"10.1353/scu.2022.0012","DOIUrl":"https://doi.org/10.1353/scu.2022.0012","url":null,"abstract":"Abstract:Gordon Parks made a series of photographs for the Farm Security Administration in 1942. Parks intended to document the impact of racial bigotry on Black communities in Washington D.C., and found a resilient subject in Ella Watson, a Black woman who cleaned federal offices. This moment produced the iconic \"American Gothic\" portrait Parks made of Watson in the building that evening. But Watson also brought Parks to other critical spaces in her life, including her home altar and her worship community at the St. Martin's Spiritual Center. This essay meditates on the images of Watson's religious life. Walking with Watson into the sanctuary and documenting spiritualists' dynamic forms of worship helped Parks to focus his lens on the fullness of Black living beyond the burdens of systemic racism. The photographs help us to visualize how sacred liberatory spirit emerges in solitude and in collectivity, moving both within and beyond the walls of the sanctuary.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47059211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay is a thought-piece that attempts to capture the tenor of the pandemic and the necessity to provide mutual aid in times of crisis. It also attests to the fact that mutual aid extends beyond capital, as it also encompasses mutual care in community. As we articulate our mirrored experiences during the pandemic, we trace a common trajectory in the simple thought that everyone deserves to be housed and fed, and that they deserve these two basic needs to be met with their self-determination in mind. This is what sanctuary means to us both.
{"title":"What Love Looks Like in Public: Mutual Aid Makes for Sustainable Communities","authors":"S. Holland, Tiz Giordano","doi":"10.1353/scu.2022.0015","DOIUrl":"https://doi.org/10.1353/scu.2022.0015","url":null,"abstract":"Abstract:This essay is a thought-piece that attempts to capture the tenor of the pandemic and the necessity to provide mutual aid in times of crisis. It also attests to the fact that mutual aid extends beyond capital, as it also encompasses mutual care in community. As we articulate our mirrored experiences during the pandemic, we trace a common trajectory in the simple thought that everyone deserves to be housed and fed, and that they deserve these two basic needs to be met with their self-determination in mind. This is what sanctuary means to us both.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42460209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this interview, contemporary visual artist Dawn Williams Boyd (b. 1952) shares with scholar Margaret T. McGehee the ways in which her work (which she terms "cloth paintings") and her house and studio in Atlanta, Georgia, serve as a sanctuary--a space of safety, a place where she can be at home, a place where she can sigh. She further shares details from her life that inform her art, discusses the process by which she creates cloth paintings, and offers insight into her aims and choices within specific pieces.
{"title":"A Place to Sigh: Dawn Williams Boyd in conversation with Margaret T. McGehee","authors":"D. Boyd, Margaret T. Mcgehee","doi":"10.1353/scu.2022.0016","DOIUrl":"https://doi.org/10.1353/scu.2022.0016","url":null,"abstract":"Abstract:In this interview, contemporary visual artist Dawn Williams Boyd (b. 1952) shares with scholar Margaret T. McGehee the ways in which her work (which she terms \"cloth paintings\") and her house and studio in Atlanta, Georgia, serve as a sanctuary--a space of safety, a place where she can be at home, a place where she can sigh. She further shares details from her life that inform her art, discusses the process by which she creates cloth paintings, and offers insight into her aims and choices within specific pieces.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41960567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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