This ideology (and it is ideology) fails to recognize or value the collective labor and knowledge already expended to produce any given individual and which forms the history behind what that individual produces (I include unpaid as well as paid labor—parents, teachers, informal advisors, friends and lovers, colleagues, peers, previous employers, the multitude who clean up after, etc.). In this regard, every artist and artwork has a collective lineage.1
{"title":"Maryland Institute Black Archives: A Post-Custodial Project","authors":"Ellen Y. Tani","doi":"10.24926/24716839.14589","DOIUrl":"https://doi.org/10.24926/24716839.14589","url":null,"abstract":"This ideology (and it is ideology) fails to recognize or value the collective labor and knowledge already expended to produce any given individual and which forms the history behind what that individual produces (I include unpaid as well as paid labor—parents, teachers, informal advisors, friends and lovers, colleagues, peers, previous employers, the multitude who clean up after, etc.). In this regard, every artist and artwork has a collective lineage.1","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Panorama's New Section: Digital Dialogues","authors":"","doi":"10.24926/24716839.15292","DOIUrl":"https://doi.org/10.24926/24716839.15292","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A striking pair of colossal ceramic eyes marks the entrance to Cathy Lu’s solo exhibition Interior Garden , commissioned by the Chinese Culture Center (CCC) Francisco. The eyes are shocking not because they peer out from behind the center’s circular moon gate but because they do so from within the Hilton San Financial District Hotel, located in the city’s iconic Chinatown neighborhood. Ensconced on the third floor of the Hilton, the CCC works, from inside this of tourism, to give the Chinese community and greater diaspora more visibility through free programs, and exhibitions for long-term residents and outside visitors alike. 1 This exhibition was developed the two of the pandemic — a of isolation, political scapegoating, and a rise in anti-Asian attacks. Thus, it is not surprising that Lu — an American artist of Chinese and Taiwanese descent — drew inspiration from another retreat-like setting: the Chinese garden. By echoing the structure of a Chinese garden, Interior Garden presents four cohesive installations, calibrated to the site, that grapple with themes of Asian American identity and tenets of the “American Dream.”
受弗朗西斯科中国文化中心(CCC)委托，吕凯玲的个展“室内花园”展出了一对巨大的陶瓷眼睛。这些眼睛之所以令人震惊，并不是因为它们是从中心的圆形月门后面向外窥视，而是因为它们是从位于该市标志性的唐人街附近的希尔顿圣金融区酒店(Hilton San Financial District Hotel)内看到的。中国文化中心位于希尔顿酒店的三楼，从旅游业的角度出发，通过免费项目和展览，为长期居民和外国游客提供更多的中国社区和更多的海外侨民提供更多的知名度。这次展览是针对大流行的两个方面展开的——孤立、政治替罪羊和反亚洲攻击的上升。因此，陆——一位有着中国和台湾血统的美国艺术家——从另一个隐居的环境中汲取灵感也就不足为奇了:中国花园。通过呼应中国花园的结构，“室内花园”展示了四个有凝聚力的装置，根据场地进行校准，努力解决亚裔美国人身份的主题和“美国梦”的原则。
{"title":"Cathy Lu: Interior Garden","authors":"C. Lu, Interior Garden","doi":"10.24926/24716839.15228","DOIUrl":"https://doi.org/10.24926/24716839.15228","url":null,"abstract":"A striking pair of colossal ceramic eyes marks the entrance to Cathy Lu’s solo exhibition Interior Garden , commissioned by the Chinese Culture Center (CCC) Francisco. The eyes are shocking not because they peer out from behind the center’s circular moon gate but because they do so from within the Hilton San Financial District Hotel, located in the city’s iconic Chinatown neighborhood. Ensconced on the third floor of the Hilton, the CCC works, from inside this of tourism, to give the Chinese community and greater diaspora more visibility through free programs, and exhibitions for long-term residents and outside visitors alike. 1 This exhibition was developed the two of the pandemic — a of isolation, political scapegoating, and a rise in anti-Asian attacks. Thus, it is not surprising that Lu — an American artist of Chinese and Taiwanese descent — drew inspiration from another retreat-like setting: the Chinese garden. By echoing the structure of a Chinese garden, Interior Garden presents four cohesive installations, calibrated to the site, that grapple with themes of Asian American identity and tenets of the “American Dream.”","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In November 2019, Pamela Brown, Marilyn Moore, and Frances Turnage, three longtime members of the United Auto Workers (UAW) Local 1112 Women’s Committee, held a public discussion with photographer LaToya Ruby Frazier (b. 1982) about their experiences in the labor movement. The conversation formed part of the public programming surrounding Frazier’s documentary project The Last Cruze, then installed at the Renaissance Society in Chicago. At one point, Frazier described an interaction she had earlier that year while sitting in Turnage’s living room. Turnage had pulled out a binder of newspaper clippings, one of which included a photograph of her alongside two of her fellow Local 1112 members in Columbus, Ohio, holding union signs in their hands; the trio of women stood amid a crowd of people protesting a piece of 2011 state legislation that would strip public employees of their collectivebargaining rights. Frazier produced a photograph of the clipping as if it were an icon, balanced upright on Turnage’s dining-room table, starkly illuminated against a near-black background (fig. 1). Such reverent treatment of this humble material signals Frazier’s recognition of the scrapbook as a site where personal stories are crafted and relayed to others through storytelling. The fact that the book contains scraps from Turnage’s union history is also significant. By sharing this object with Frazier and, by extension, allowing her to share it with her viewers, Turnage initiates Frazier into a local history long sustained by relations of obligation and struggle.
2019年11月，美国汽车工人联合会(UAW)当地1112妇女委员会的三位长期成员帕梅拉·布朗、玛丽莲·摩尔和弗朗西丝·特纳奇与摄影师拉托亚·鲁比·弗雷泽(1982年出生)就她们在劳工运动中的经历进行了公开讨论。这段对话成为弗雷泽纪录片《最后的克鲁兹》(The Last Cruze)的公共节目的一部分，随后在芝加哥文艺复兴协会(Renaissance Society)展出。弗雷泽一度描述了她当年早些时候坐在特纳奇家客厅里的一次互动。特纳奇拿出一叠剪报，其中一张是她和俄亥俄州哥伦布市的两名当地1112成员的照片，他们手里拿着工会标志;这三名女性站在一群抗议2011年州立法的人群中，该立法将剥夺公职人员的集体谈判权。弗雷泽把这张剪贴画拍成了一张照片，就好像它是一个图标，在图纳奇的餐桌上笔直地摆着，在接近黑色的背景下明亮地照亮着它(图1)。对这种不起眼的材料的如此虔诚的处理表明，弗雷泽认为剪贴簿是一个精心制作个人故事的网站，并通过讲故事的方式传递给他人。这本书中包含了特纳奇工会历史的碎片，这一事实也很重要。通过与弗雷泽分享这件物品，并进一步允许她与她的观众分享，特纳奇将弗雷泽带入了一段长期由义务和斗争关系维持的当地历史。
{"title":"Obligations to the Local: Solidarity as Method in LaToya Ruby Frazier’s The Last Cruze","authors":"Pamela Brown","doi":"10.24926/24716839.13162","DOIUrl":"https://doi.org/10.24926/24716839.13162","url":null,"abstract":"In November 2019, Pamela Brown, Marilyn Moore, and Frances Turnage, three longtime members of the United Auto Workers (UAW) Local 1112 Women’s Committee, held a public discussion with photographer LaToya Ruby Frazier (b. 1982) about their experiences in the labor movement. The conversation formed part of the public programming surrounding Frazier’s documentary project The Last Cruze, then installed at the Renaissance Society in Chicago. At one point, Frazier described an interaction she had earlier that year while sitting in Turnage’s living room. Turnage had pulled out a binder of newspaper clippings, one of which included a photograph of her alongside two of her fellow Local 1112 members in Columbus, Ohio, holding union signs in their hands; the trio of women stood amid a crowd of people protesting a piece of 2011 state legislation that would strip public employees of their collectivebargaining rights. Frazier produced a photograph of the clipping as if it were an icon, balanced upright on Turnage’s dining-room table, starkly illuminated against a near-black background (fig. 1). Such reverent treatment of this humble material signals Frazier’s recognition of the scrapbook as a site where personal stories are crafted and relayed to others through storytelling. The fact that the book contains scraps from Turnage’s union history is also significant. By sharing this object with Frazier and, by extension, allowing her to share it with her viewers, Turnage initiates Frazier into a local history long sustained by relations of obligation and struggle.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Exploring Indisposability: The Entanglements of Crip Art","authors":"","doi":"10.24926/24716839.13258","DOIUrl":"https://doi.org/10.24926/24716839.13258","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cauleen Smith: Give It or Leave It","authors":"","doi":"10.24926/24716839.13348","DOIUrl":"https://doi.org/10.24926/24716839.13348","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
guidance as well. This article is dedicated to all past, present, and future Indigenous creators.
还有指导。这篇文章献给所有过去、现在和未来的原住民创作者。
{"title":"Indigenous Temporal Enmeshment in Akwesasne Notes","authors":"M. Schmitz","doi":"10.24926/24716839.15034","DOIUrl":"https://doi.org/10.24926/24716839.15034","url":null,"abstract":"guidance as well. This article is dedicated to all past, present, and future Indigenous creators.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Steps away from an Amsterdam canal, a photograph by Lewis Wickes Hine (1874–1940) rests between layers of thick matboard in a secure box (fig. 1). Hine made the picture in a Richmond, Virginia, street in June 1911, partially angled toward an intersection. A small, pale boy stands in the center of the frame, leaning toward the street (fig. 2). The boy’s face is scrunched up against the raking light. One of his hands grips a fire hydrant while the other clutches a newspaper. His bare feet balance, one in front of the other, on the curb. This photograph also includes partial views of a streetcar and various passersby: a group of three Black women in hats, shirtsleeves, and dark skirts, pictured mid-stride and mid-conversation, and two white men in suits moving past. The boy is the only figure standing still in a photograph that has itself moved continents: from the Richmond summer heat to the permanent collection of Rijksmuseum, where its meaning was transformed via an error of cataloguing. This photograph has been reproduced as Newspaper Vendor, New York, 1909 throughout its life in the Dutch museum. The discovery of this commonplace cataloging error helped me contextualize Hine's photographs of child labor in the history of photography and theorizations of race in the United States and the Netherlands, allowing me to explore how race shaped Hine’s goals and the reception of the photograph. The situation raises questions about the enduring impact of racial hierarchy in Hine’s child labor photographs, as well as the role of whiteness in the formation of “American” photography more broadly. Fig. 1. Photograph RP-F-2007-326 as stored in the Rijksmuseum, Amsterdam, June 2021. Photo by author
{"title":"American Photographs Abroad: Traveling with Lewis Hine","authors":"Natalie Zelt","doi":"10.24926/24716839.15068","DOIUrl":"https://doi.org/10.24926/24716839.15068","url":null,"abstract":"Steps away from an Amsterdam canal, a photograph by Lewis Wickes Hine (1874–1940) rests between layers of thick matboard in a secure box (fig. 1). Hine made the picture in a Richmond, Virginia, street in June 1911, partially angled toward an intersection. A small, pale boy stands in the center of the frame, leaning toward the street (fig. 2). The boy’s face is scrunched up against the raking light. One of his hands grips a fire hydrant while the other clutches a newspaper. His bare feet balance, one in front of the other, on the curb. This photograph also includes partial views of a streetcar and various passersby: a group of three Black women in hats, shirtsleeves, and dark skirts, pictured mid-stride and mid-conversation, and two white men in suits moving past. The boy is the only figure standing still in a photograph that has itself moved continents: from the Richmond summer heat to the permanent collection of Rijksmuseum, where its meaning was transformed via an error of cataloguing. This photograph has been reproduced as Newspaper Vendor, New York, 1909 throughout its life in the Dutch museum. The discovery of this commonplace cataloging error helped me contextualize Hine's photographs of child labor in the history of photography and theorizations of race in the United States and the Netherlands, allowing me to explore how race shaped Hine’s goals and the reception of the photograph. The situation raises questions about the enduring impact of racial hierarchy in Hine’s child labor photographs, as well as the role of whiteness in the formation of “American” photography more broadly. Fig. 1. Photograph RP-F-2007-326 as stored in the Rijksmuseum, Amsterdam, June 2021. Photo by author","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Cultural Invisibility of Reproductive Health","authors":"","doi":"10.24926/24716839.15279","DOIUrl":"https://doi.org/10.24926/24716839.15279","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Art and Reproductive Rights in the Wake of Dobbs v. Jackson","authors":"","doi":"10.24926/24716839.15268","DOIUrl":"https://doi.org/10.24926/24716839.15268","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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