Ekow Eshun considers the Black figure in portraiture at the National Portrait Gallery

The article explores the exhibition 'In the Black Fantastic' at London's Hayward Gallery, curated by Wallpaper* contributing editor Ekow Eshun. The exhibition, which is part of a larger series of events at the Southbank Centre, is accompanied by a book of the same title. The show serves as an eclectic examination of Black past, present, and speculative futures, aiming to challenge Western accounts of history and offer alternative narratives. Eshun's curatorial approach emphasizes the concept of the 'Fantastic' as a means of excavating and uncovering reality, rather than escaping it. This perspective allows for the deconstruction of centuries of socially assigned personhood and the creation of new meaning from what remains. Many of the featured artworks emerge from this understanding, positioning Black life as a realm of possibilities rather than solely an interrogation of historical conditions tied to previous definitions of Blackness. The exhibition aims to present new propositions and possibilities of Black self-hood, space occupation, and imagination. The exhibition features a diverse range of artistic mediums, including film, painting, sculpture, and installation. Notably, a selection of films created specifically for art spaces is included. Eshun highlights that these films, unburdened by commercial demands, are able to expand the possibilities and 'spectacular strangeness' of Black existence by venturing into other realms. Artists are afforded a greater license to explore personal interests, drawing from conventional histories, folklore, myth, spiritual traditions, pageantry, and the legacies of Afrofuturism to forge what Eshun terms 'The Black Fantastic.' Among the artists showcased are Tabita Rezaire, whose work 'Ultra Wet – Recapitulation' (2017) is presented, and Hew Locke, whose installations are prominently featured. Other contributing artists include Nick Cave, known for his 'Soundsuit' responding to racial violence; Kara Walker, with her stop-motion animation film on the same theme; Chris Ofili; Sedrick Chisom; Ellen Gallagher; Rashaad Newsome; Cauleen Smith; and Lina Iris Viktor. The exhibition critically addresses the placidity of Western historical accounts concerning Blackness, arguing that the global system often leaves non-Western narratives unexplored. It encourages viewers to engage in internal investigations of how 'Western megalomania,' manifested through global homogenization, has obscured ancient discoveries, counter-histories, and future visions from cultures of the 'global south.' The article suggests that by conforming to Western narratives, individuals may become complicit in what is described as an 'attrition of the archive.' The exhibition ultimately calls for an openness to these alternative perspectives, which can challenge and enrich our understanding of history and identity. #BlackCulture #ArtExhibition #HaywardGallery #EkowEshun #BlackFantastic #Afrofuturism #ContemporaryArt #CulturalCritique #LondonExhibition

Toyin Ojih Odutola, a Nigerian-born, New York-based artist, is presenting her fourth solo show in four years at New York’s Jack Shainman Gallery, titled *Of Context and Without*. The exhibition, which opens on December 11th and runs until January 30th, delves into themes of race and identity through her distinctive figurative drawings. Ojih Odutola is known for her hypnotic works created with ballpoint pen ink and charcoal, which have garnered her recognition in various art surveys and solo exhibitions, including those at the Studio Museum in Harlem, Contemporary Art Museum St. Louis, and the Indianapolis Museum of Contemporary Art. Despite her success, Ojih Odutola felt that previous interpretations of her work sometimes missed the intended narrative, leading to what she describes as “quick reads.” She aims to challenge these preconceived notions, particularly the expectation that a black woman artist's work must conform to specific themes. Her intention with *Of Context and Without* is to “confuse people” and make them question their assumptions about identity and representation. The exhibition marks a deliberate shift in her artistic approach to address the complexities of blackness and societal perceptions. The show begins with a series of works executed in white charcoal on blackboard, a technique that introduces a sense of ambiguity and slipperiness. By using white as a demarcating tool instead of black, Ojih Odutola creates an environment where viewers struggle to delineate clear meanings, making the concept of context suspect and the content unreliable. An example includes a portrayal of a black runway model rendered in white charcoal, giving it an almost otherworldly appearance. Further unsettling the viewer are grayscale figures with shimmering, seemingly pupil-less eyes, which blur the lines between form and image, pushing the discussion of race and blackness beyond conventional representation. Ojih Odutola emphasizes that her work is not merely about depicting black individuals but about addressing the societal inability to properly address the image of blackness. This perspective was deeply influenced by a commentator on CNN who discussed the dehumanization of figures like Michael Brown, who were reduced to concepts rather than seen as individuals. For Ojih Odutola, “blackness is an obfuscating element that obstructs anything that’s behind,” preventing true recognition of the person. To counteract this, she developed a series called *The Treatment*, featuring drawings of famous white men with black faces, their identities obscured by simple pencil outlines for hair and clothes, transforming them into anonymous figures. This intentional evasiveness aims to prevent singular, superficial interpretations, highlighting the multifaceted nature of people and situations. The exhibition also includes self-portraits, such as *Subway Selfie (Or be Thankful to Exist)*, a white charcoal piece reflecting the contemporary impulse for self-documentation. Another significant self-portrait is a larger-than-life marker drawing of a nude Ojih Odutola, initially titled *What’s on offer* and later renamed *The Object is the Technique + The Technique is the Object*, inspired by a Francis Bacon quote. This title underscores her desire for the marks themselves to be the subject, inviting viewers into her creative process and revealing the intricate layers often hidden in the final product. Through these diverse works, Ojih Odutola seeks to challenge viewers' perceptions, encouraging a deeper engagement with the complexities of identity, race, and artistic representation. #ToyinOjihOdutola #ArtExhibition #JackShainmanGallery #FigurativeArt #RaceAndIdentity #ContemporaryArt #CharcoalDrawing #NewYorkArt

In commemoration of Black History Month, TRNK founder Tariq Dixon launched “Resistance::Resilience,” the latest installment of the TRNK Editions art series. This collection of photographic and mixed-media works aims to provide a fresh perspective on the history of Black activism in the United States, specifically addressing the Black Lives Matter protests of summer 2020. Dixon, a Black retailer and head of a design studio, sought to leverage his platform to inspire change and contextualize these significant events. The exhibition features diverse artistic voices, including Amandla Baraka, Gregory Prescott, and Quan Brinson, offering varied interpretations of protest and its implications for the Black American experience. These works are available for purchase, framed and unframed, starting at $150, with 25 percent of sales throughout the year benefiting the Black Youth Project 100, an organization dedicated to Black youth activism. Dixon discussed the curatorial process and the exhibition's intentions, emphasizing a desire to redefine protest art beyond a singular focus on trauma and struggle. While including documentary-style photographs of Black Lives Matter protests, the collection also highlights humanity and power within these movements. Other works, while not directly addressing recent protests, are inherently political, as Black identity and existence continue to be seen as a political act. The selection criteria involved exploring artists' broader bodies of work, even if their initial connection to the project stemmed from their protest-related art. The goal was to encompass various ways to depict Black strength and resilience, from staged vignettes and models to graphic art used in protests or created for social media amplification. One notable graphic piece included is the “All Black Lives Matter” poster by Joanne Petit-Frère. The collaborative nature of the show was evident in the development of its narrative. Dixon's understanding of protest art expanded through conversations with contributors. For example, Myesha Evon Gardner's barbershop series, which she proposed, resonated with the show's theme of resilience. This series portrays barbershops as spaces of community and camaraderie for Black men, offering a moment to depoliticize their identity. The artists featured in the exhibition come from diverse backgrounds, including commercial photographers like Anthony Geathers (sports) and Amandla Baraka (fashion campaigns), alongside those with more traditional fine art practices like Felli Maynard. Despite their varied professional paths, a common thread among all participating artists is the personal and deeply meaningful nature of their work. For those beginning to collect art and photography, Dixon advises prioritizing works that evoke a strong personal connection, whether through their intellectual message or visual appeal. He suggests that the integration of art with home decor is a secondary consideration, as beloved pieces will naturally find a harmonious place within a space. From TRNK’s perspective as a design studio, curating such art is vital because these pieces are meant to be lived with. Certain images, Dixon notes, can offer comfort, reinforce feelings of strength and humanity, and serve as daily reminders of persistence—messages that are universally valuable. #BlackHistoryMonth #ProtestArt #TRNKEditions #BlackLivesMatter #ArtExhibition #DesignStudio #Activism #Photography #CulturalDialogue

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

The article discusses Taryn Simon's upcoming 'Black Square' exhibition at the Gagosian Gallery in Athens, set to open on September 25. Simon, a guest editor for Wallpaper*'s October issue, is recognized as a prominent art figure, known for her intricate blend of text, imagery, graphic design, and narrative in her photographic work. Her previous exhibition, 'A Living Man Declared Dead and Other Chapters I-XVIII,' garnered significant attention, touring major institutions like MoMA in New York, Tate Modern, and MoCA in Los Angeles. This exhibition solidified her reputation for tackling complex questions through human-centric stories and meticulous compositional skill. Simon's earlier work, 'An American Index of the Hidden and Unfamiliar,' explored obscure and often concealed subjects to map a post-9/11 America. Her new 'Black Square' series continues this thematic approach by focusing on objects of wider cultural significance, photographed against a deep black background. The series uses the same frame size as Kazimir Malevich's iconic 1915 Suprematist painting, 'Black Square,' which marked a pivotal moment in art history. This deliberate choice of frame size not only pays homage to Malevich but also frames Simon's disorienting subjects within a historical artistic context, emphasizing their cultural complexity, collapse, or ambiguity. The subjects featured in the 'Black Square' exhibition are diverse and thought-provoking. They include an artificial heart, a wallet made from human skin, genetically modified mosquitoes, and a flame-throwing anti-hijacking system installed on a Toyota Corolla in South Africa. Another notable subject is a captive parrot suffering from stress-related feather loss. These subjects, while seemingly disparate, are united by Simon's intention to highlight various societal issues and hidden realities. Through these images, Simon invites viewers to contemplate the scientific, ethical, and sociological implications of these objects and phenomena. In addition to her exhibition, Taryn Simon is contributing two new projects to Wallpaper*'s October issue as a guest editor. These projects delve into the classification and cataloging of photographic images within the digital realm, extending her inquiry into how information is organized, perceived, and stored in contemporary society. This showcases her continued engagement with the evolution of photography and its role in documenting and interpreting the world. The article includes several illustrations from Simon's 'Black Square' series, such as 'Black Square XI, Blue and Gold Macaw,' 'Black Square IV, The Blaster' (featuring the anti-hijacking system), 'Black Square IX, Genetically engineered male mosquitoes,' 'Black Square III, Human Skin Wallet,' and 'Black Square II, Artificial Heart.' It also provides a glimpse into her archives with images like 'Chapter XI, A Living Man Declared Dead and Other Chapters I-XVIII,' 'Cigarettes & Tobacco (abandoned/illegal/prohibited),' 'OCA (prohibited),' 'White Tiger (Kenny),' 'Hymenoplasty Cosmetic Surgery,' and two images depicting scenes related to wrongful convictions: 'Larry Mayes, scene of arrest' and 'Charles Irvin Fain, scene of the crime.' These archival images further underscore Simon's consistent themes of hidden narratives, societal structures, and the human condition. The exhibition is hosted at the Gagosian Gallery at 3 Merlin Street, Athens, and contact information is provided for inquiries. #TarynSimon #BlackSquare #ArtExhibition #Photography #GagosianGallery #AthensArt #ContemporaryArt #DocumentaryPhotography #CulturalCommentary

The work of photographer and fine artist Nakeya Brown delves into the profound significance of hair in relation to identity, politics, and resistance, particularly within the context of Black womanhood. Her latest series, 'Xpressions: Black Beauty Still Lifes,' offers a nostalgic exploration of the rituals and trends that have shaped Black female identity from the mid-20th century to the present day. Brown's artistic approach involves meticulously pairing beautification devices with a range of historical artifacts, including books, advertisements, and homewares dating from the 1950s to contemporary times. By centralizing Black cultural ephemera in her still life photographs, she investigates the intricate connections between beauty practices and self-identity within the Black community. Brown initiated her exploration of beauty through her personal experiences as a Black girl and woman in 2012. This journey led her to collect numerous objects associated with the marketing and sale of beauty products to Black women. Her current series draws inspiration from these markets, broadly examining the archetypal representations of Black women that are ubiquitous in consumer culture. Brown's images effectively chronicle the significant shifts in hair trends and techniques, often influenced by advancements in hair technology. For instance, she observed a proliferation of wig advertisements in the 1960s and early 1970s. This era saw the introduction of Kanekalon fibers to America, which, due to their low cost, led to mass production and widespread availability of wigs specifically designed for Black female consumers by manufacturers across various states. Moving into the 1980s and through the 2000s, Brown's documentation reveals a marketing pivot towards sew-ins, chemical straightening, and thermal curling. During this period, braided styles were predominantly promoted in the Southern and Tri-State areas of the United States, highlighting regional variations in beauty practices. Beyond just hair trends, Brown's work also implicitly comments on the evolving work lives of Black women in America. By juxtaposing domestic objects with beauty products and marketing imagery, she illuminates the complex interplay between the domestic sphere, the beauty sector, and the experiences of Black women. Brown notes that historically, the beauty industry has offered a path to dignity and self-sufficiency, providing an alternative to traditional domestic work. She emphasizes that Black women have not only defined femininity through their appearance and self-perception but also through their capacity to provide for themselves in an independent manner. In recent years, a significant theme in Brown's art has been the integration of beauty with broader activism. She cites the extensive writings of Tiffany M. Gill and Maxine Lee Craig, which have deepened her understanding of the intersection between political activism among Black women and the beauty culture industry. This academic insight has also informed her decision to feature Black-owned businesses in her work, thereby ensuring the visibility and preservation of this particular strand of history. Brown concludes that throughout history, women have consistently strived to broaden the definitions of beauty, a continuous effort that resonates deeply within her artistic practice. #NakeyaBrown #BlackWomanhood #HairCulture #StillLifePhotography #AfricanAmericanHairstyles #BeautyStandards #CulturalIdentity #Femininity #SocialHistory

Amoako Boafo, a Ghanaian artist, has achieved significant recognition in the art world, transitioning from a rapid ascent in 2019 and 2020 to a sustained career. His work is currently featured in an internationally touring museum exhibition titled 'Soul of Black Folks' and he is represented by prominent galleries like Gagosian and Mariane Ibrahim. Boafo's latest exhibition, 'I Do Not Come to You by Chance,' opened in London, marking his inaugural show in the city. This exhibition not only unveils new paintings but also pays homage to Accra, Ghana, his hometown, and the artistic community instrumental in his success. The exhibition's title is inspired by Adaobi Tricia Nwaubani's novel of the same name. In this new body of work, Boafo delves into his family history, creative journey, and the supportive community around him. The show incorporates installation elements that integrate with the paintings, offering a more intimate look into Boafo's life and story than previous works. It celebrates his friends and fellow artists, including Aplerh-Doku Borlabi, Kwesi Botchway, Otis Kwame Kye Quaicoe, and Eric Adjei Tawiah, along with his personal history. Boafo is renowned for his art, which champions Black joy. His distinctive technique combines traditional finger painting with transfer methods and a portraiture style reminiscent of Schiele. He primarily focuses on portraits of individuals he knows or admires, depicting them with confidence, often smiling or in moments of leisure. These works convey a powerful sense of affirmation for his subjects and carry a discernible political message, operating on multiple interpretive levels. Despite his international career, including training at the Ghanatta College of Art and Design in Accra and the Academy of Fine Arts in Vienna, Boafo remains deeply committed to his hometown. He shares a studio with fellow artists and has expanded his contributions to Accra's art scene through dot.ateliers, a residency and exhibition space. This facility, designed by architect Glenn DeRoche of DeRoche Projects, provides crucial resources and space for local artists in a city with limited public art services. Boafo explains that literature has significantly influenced his work. While he often references novels in his paintings or draws inspiration from them, 'I Do Not Come to You by Chance' is his first exhibition to directly use a book title. He recounts that moving to Vienna prompted him to reflect on his Black identity in a new way, and books exploring the Black experience provided a vital connection. Reading, a luxury he couldn't afford in his youth, later helped him articulate his artistic vision. The novel 'I Do Not Come to You by Chance' resonates with Boafo because it portrays the sacrifices a young Nigerian man makes for his family, challenging conventional notions of good, bad, intelligence, and success. Boafo sees parallels between the book's themes and his own journey as a Ghanaian artist who achieved success to support his family, while also emphasizing the importance of self-care. His London exhibition showcases the evolution of his techniques, backgrounds, textures, and the use of wood grain, featuring some of his largest paintings to date. A central component of the exhibition is the recreation of the courtyard where Boafo first learned to paint. He sees London as an ideal setting to reinterpret this space on a grand scale, leveraging available resources and support to realize this ambitious installation. He views bringing this significant personal space into the gallery, now housing his paintings, as a profoundly special endeavor. When asked about the importance of depicting Black joy, Boafo challenges the pervasive narrative of Blackness being solely associated with pain and suffering. He asserts that his painting is fundamentally about documenting and celebrating Black identity. His primary motivation is to portray people he admires, who inspire him, and who create opportunities. He aims for his figures to exude strength, freedom, and unapologetic self-expression. The recreated courtyard, though not always easy, was rich with life, lessons, laughter, and conflict, where joy emerged through sharing, learning, and recognition. Boafo emphasizes that by showcasing Black joy, he intends to highlight that Black stories encompass intimacy, celebration, relaxation, and play, extending beyond narratives of pain or survival. His collaboration with Glenn DeRoche on dot.ateliers stemmed from a desire to give back to his inspiring community. Recognizing the burgeoning talent in Ghana and across Africa, Boafo sought to create opportunities for artists, hoping to mitigate the perceived necessity for them to seek success in Europe. His continued partnership with DeRoche for the London show felt natural, as DeRoche understands Boafo's vision for blending community with artistic practice and for pushing the boundaries of exhibiting art beyond traditional white-wall presentations. Bringing autobiographical elements, including references to his upbringing, friends, and collaborators in Accra, is a deeply personal yet necessary process for Boafo. It allows him to demonstrate his growth as an artist and individual, while also positioning his culture and history as integral to his journey. He views this sharing as a vulnerable yet strong act, committed to sharing his success and ensuring that those who inspire him are part of this ongoing endeavor. Boafo believes Accra's community-centric approach, where people share space and resources, offers valuable lessons for cities like London. The courtyard installation serves as a reminder for Ghanaians in London of the richness of their heritage and the resourcefulness born from communal living. #AmoakoBoafo #ArtExhibition #BlackJoy #GhanaianArt #LondonArtScene #ContemporaryArt #CulturalIdentity #GagosianGallery #AccraArt #AdaobiTriciaNwaubani

Antwaun Sargent, a New York-based critic and curator, has curated his first exhibition as a director at Gagosian, titled ‘Social Works’. This exhibition, which opened on June 24 at Gagosian’s West 24th Street gallery, explores the concept of creating and dissecting space for the betterment of individuals and their communities, particularly focusing on Black social practice. Sargent's curatorial approach is deeply rooted in over a decade of engagement with Black American artists and is characterized by his critical perspective and realistic understanding of the art world. The show features a diverse group of artists, ranging from established figures to emerging talents, and utilizes various media and site-specific installations. The exhibition highlights the intergenerational efforts of Black Americans in developing coping strategies to navigate societal barriers, drawing inspiration from oral traditions, spiritual practices, and lived experiences. Sargent's work in ‘Social Works’ reflects his ongoing commitment to addressing Black agency, moral responsibility in representation, and the significance of formal artistic merit. His influence extends beyond formal publications, encompassing informal discussions and debates with artists and curators, where he consistently challenges existing norms and advocates for self-advancement within the Black art community. The exhibition aims to foster introspection and change by presenting multifaceted perspectives on the Black American experience. Key artists featured in ‘Social Works’ include David Adjaye, Theaster Gates, Linda Goode Bryant, Rick Lowe, and Titus Kaphar. Lauren Halsey, an architect and artist, contributes site-specific sculptures, such as her 'black history wall of respect' (II) and 'box' sculptures. Halsey's work is informed by her family's history in South Central Los Angeles and incorporates found, reworked, and fabricated materials to imagine Afrofuturist possibilities, often referencing the 'FUBUarchitecture' concept. Her pieces, whether monochromatic or vibrant, engage multiple senses and underscore the urgency of civic change from the perspective of a Black woman. David Adjaye, known for his architectural achievements like the National Museum of African American History and Culture, presents his first large-scale sculpture in the US for this exhibition. This monumental work, made from compacted earth, prompts a re-evaluation of material value and aligns with his plans for the Edo Museum of West African Art in Benin City, Nigeria, which will house the Benin Bronzes. Carrie Mae Weems contributes photographs from her ongoing series 'Roaming' and 'Museums', which depict her standing within or in front of public spaces, critically examining their inclusivity. Her presence, often in an elegant black dress, symbolizes her immovable role in supporting cultural structures. Linda Goode Bryant, a veteran in New York’s art and activism scene and founder of the first Black-run gallery, Just Above Midtown, presents an interactive living sculpture titled 'Are we really that different.' Created in collaboration with architect Liz Diller, this piece is inspired by Bryant's urban farming venture, Project Eats, and will provide free food to gallery visitors, marking a unique initiative for Gagosian. Rick Lowe, founder of Project Row Houses, showcases pieces from his 'Black Wall Street' series, which investigates the economic challenges faced by African Americans. His work draws from the history of prosperous Black communities like Greenwood in Tulsa, Oklahoma, emphasizing the importance of independent Black community building and economic empowerment. The exhibition also includes works by emerging artists such as Alexandria Smith and Christie Neptune, reflecting Sargent's commitment to showcasing artists across different career stages and fostering diverse dialogues within the art world. #AntwaunSargent #SocialWorks #GagosianExhibition #BlackArt #ContemporaryArt #CuratorialPractice #AfricanAmericanArtists #ArtAndActivism #CulturalInclusivity

Photographer Alex Black's debut monograph, *Scripted*, delves into the complex relationship between beauty photography and societal perceptions, utilizing the visual language of commercial advertising to create a "glossy gothic" aesthetic. Black, a renowned fashion and beauty photographer who has contributed to various magazines and worked with prominent brands like Maison Margiela, Diesel, Tom Ford, and Pat McGrath, leverages her deep understanding of advertising psychology to subvert conventional beauty standards. The book is presented as an opportunity for Black to explore the mechanics of photography and desire on her own terms, moving beyond the commercial imperatives of publications and brands. Black's artistic approach in *Scripted* is centered on deconstructing visual codes to understand what images communicate. She aims to create a duality within her work, juxtaposing high and low, minimalist and decadent, and familiar with foreign elements. This creates a space for critical reflection on how images influence our understanding of beauty. The book features high-gloss images that initially attract the viewer but then challenge them with unconventional subjects. Examples include extensively retouched faces that resemble plastic, a close-up of glossy yellow lips, and a perfectly groomed face with frizzy hair, appearing disembodied in a dark void. These images collectively present a distorted yet compelling vision of beauty. A significant element of *Scripted* is the inclusion of grids that display the same image with subtle yet impactful alterations. One such grid illustrates a red painted nail, showcasing familiar manicure shapes like square and taloned, alongside bizarre ones such as a diagonal line and saw-like spikes. This juxtaposition renders the act of nail painting as a peculiar ritual, highlighting the uncanniness of beauty practices. Another series of six images features an AI-generated face, impeccably perfect and adorned with retro makeup, reminiscent of Barbie dolls. However, its hair is styled into impossible, futuristic shapes, making it appear both old-fashioned and hyper-modern. This blend of eras and styles further emphasizes Black's theme of duality and subversion. Black explains that her project examines how identity functions as a "script" constructed piece by piece, with beauty playing a significant role in this narrative. She suggests that personal choices, such as hair dye, often tap into commercially propagated ideals rather than being purely individual expressions. *Scripted* aims to reflect this complex interplay. Black intentionally portrays the beauty process through objects and remnants that evoke a sense of harshness, even torture. This approach contrasts the inherent discomfort of beauty rituals, like waxing and hair cutting—described by Black as "quite a violent act"—with the softness and lushness typically promoted in advertising. The objective is to create a body of work that simultaneously holds both these contrasting truths. The book effectively captures this duality, exemplified by an image of a long nail adorned with various beauty detritus, such as a smear of cream and a piece of a fake eyelash. This stylized representation of rummaging through a beauty bag and getting messy serves to illustrate that the concepts of "beautiful" and "grotesque" can be synonymous. *Scripted* maintains the visual appeal of aspirational imagery while distorting it into new forms. The resulting effect is compared to a carnival mirror, reflecting a strange yet profoundly compelling image that invites viewers to reconsider their perceptions of beauty. The book, priced at €70, is available through alexblackstudio.com. #AlexBlack #Photography #BeautyStandards #FashionPhotography #CommercialAdvertising #VisualArt #ContemporaryArt #Monograph

Pharrell Williams returns to the Perrotin gallery in Paris to curate 'Femmes,' a group exhibition dedicated to exploring diverse interpretations of femininity, with a specific homage to Black women. This follows his 2014 show 'GIRL,' named after his album, which also took place at the same gallery. The new exhibition features artwork from 39 international artists, predominantly Black, representing various genders and generations, with many pieces being newly created for the show. The artists include pioneers like 98-year-old Betye Saar and 89-year-old Esther Mahlangu, as well as emerging talents such as Kenyan photographer Thandiwe Muriu and British-Ghanaian-Vincentian painter Emma Prempeh. Renowned artists like Mickalene Thomas and Prince Gyasi, who shares synesthesia with Williams, are also featured. Emmanuel Perrotin, the French contemporary gallerist, explained that the selection of artists involved extensive brainstorming with Williams's team. The artworks delve into themes such as the body, fashion, motherhood, activism, queerness, and spirituality, aiming to challenge historical stereotypes associated with femininity. Despite the complexities of securing all desired artists due to gallery politics, Perrotin highlighted the strength and diversity of the final group. Williams emphasized the exhibition's focus on Black artists, stating that it stemmed from a desire to amplify the voices and visibility of female artists, particularly Black women, whose experiences he believes involve a unique "gravity." The collaboration between Williams and Perrotin began in 2007 through a mutual friend, Sabina Belli. Perrotin recalled meeting Williams at a pool party in Miami, where they immediately connected over art and a shared interest in design. Their initial work together involved designing a chair, spurred by Perrotin's observation of Williams's sophisticated store designs for Billionaire Boys Club. Williams credited Perrotin with helping him recognize his own artistic worth, even as a musician, citing Perrotin's early belief in his future success with songs like 'Happy' and 'Get Lucky.' Perrotin praised Williams's curatorial approach, noting his open-mindedness and lack of pretension regarding artists' fame or recognition. This freedom from conventional art world pressures allowed for the inclusion of many artists previously unknown to Perrotin's team, thereby broadening the exhibition's scope and vision. Williams described his own journey into art appreciation as acquired, learning from figures like Perrotin, and expressed gratitude for the opportunity to engage with and present such talented works. He also reflected on how his role as creative director at Louis Vuitton menswear has profoundly influenced his creative process and overall perspective, viewing it as an "artist's residency." Williams currently considers France his creative headquarters, and Perrotin acknowledged that their long-standing friendship and collaborations have not only changed his view of art but also his perspective on life. The exhibition features a comprehensive list of artists including Nina Chanel Abney, Mequitta Ahuja, Kenia Almaraz Murillo, Malala Andrialavidrazana, Jess Atieno, Seyni Awa Camara, Gaëlle Choisne, Joana Choumali, Theresa Chromati, Kenturah Davis, Alex Gardner, Todd Gray, Prince Gyasi, Leslie Hewitt, Reggie Burrows Hodges, Lauren Kelley, Kapwani Kiwanga, Glenn Ligon, Naomi Lulendo, Esther Mahlangu, Georgina Maxim, Gabriel Moses, Zanele Muholi, Thandiwe Muriu, Zéh Palito, Emma Prempeh, Robert Pruitt, Otis Kwame Kye Quaicoe, Betye Saar, Cinga Samson, Tschabalala Self, Kathia St Hilaire, Tavares Strachan, Henry Taylor, Mickalene Thomas, Chiffon Thomas, Eden Tinto Collins, Carrie Mae Weems, and Kennedy Yanko. #PharrellWilliams #PerrotinGallery #FemmesExhibition #BlackWomen #ContemporaryArt #Femininity #ParisExhibition #ArtCurator #EmmanuelPerrotin

Edmund de Waal, a renowned ceramicist, is showcasing a significant departure in his work with his upcoming solo exhibition, 'Ten thousand things,' at Gagosian Beverly Hills. De Waal, who started potting at age five and is known for his elegant, ceramic-filled vitrines, describes this new body of work as 'a huge departure, quite a scary one, actually.' His previous works often featured white, black, or colored vitrines filled with Japanese-influenced pots, plates, or cups, meticulously arranged in his South London studio. While black porcelain is not entirely new to his practice, having been featured in earlier shows, the current exhibition delves deeper into the material. Over the past two and a half years, de Waal has extensively experimented with black glazes, aiming to discover 'new shadows, gaps and spaces in his work' and explore their impact 'at scale.' This exploration culminates in hundreds of black vessels, crafted with copper-and-tin-flecked glazes. These vessels are presented in conversation with raw materials such as Cor-Ten steel, gold, lead, and plaster, all encased within various black aluminum-and-glass vitrines. The genesis of this darker thematic focus can be traced to de Waal's response to the revolutionary compositions of John Cage, particularly his mid-century piece, _The ten thousand things_. De Waal was particularly inspired by Cage's brief residency in the early 1930s at Rudolph Schindler's King's Road House in West Hollywood. He views this period as a crucial point where Cage's iconic sonic experiments began to take shape. De Waal draws parallels between the architectural innovation of the Schindler House—with its unexpected combination of concrete and timber—and Cage's radical approach to art, which involved freeing himself from conventional knowledge and experimenting publicly. This ethos of public experimentation has influenced de Waal's current artistic process, leading him to create, glaze, and arrange his works with greater looseness and intuition for his exhibition. He likens his new, more improvisational method to composing a musical score, noting that he 'just picked up these blocks of Cor-Ten steel and thumped them down very rhythmically, in a very random way.' This newfound artistic freedom, though occasionally leading to unexpected outcomes, is described by de Waal as 'a lot more fun' compared to the borderline over-determinacy he admitted characterized his earlier installations. The exhibition also marks a pivotal moment in de Waal's long-standing fascination with vitrines. Historically, vitrines served as 'safe containers' to prevent the dispersal of his collections. However, in 'Ten thousand things,' the vitrine takes on a much more sculptural role, fostering an 'elbows-out kind of relationship between what’s going on with structure and objects.' This represents a rebellion against the protective barriers and the pursuit of whiteness that defined much of his work, as documented in his book _The White Road: Journey Into an Obsession_. In this book, de Waal chronicled his journeys to significant historical sites of porcelain production in Jingdezhen, China; Dresden, Germany; and Cornwall, England. His interest in black glazes stemmed from the historical attempts in Meissen to create white porcelain, which initially resulted in black porcelain due to technical challenges. De Waal sees this historical context as a profound metaphor: 'you’re trying to get to white but you have to go through black.' He emphasizes that his exhibitions are not arbitrary but are carefully conceived as a body of work for a specific location, time of year, and quality of light. The choice of Los Angeles for 'Ten thousand things' is deliberate, as he views the city as a hub of exiles, aspiring artists, and experimentation, intrinsically linked to figures like Schindler and Cage. This confluence of influences provided the impetus for de Waal to embark on this new artistic direction. #EdmundDeWaal #Ceramics #ArtExhibition #GagosianGallery #BlackGlazes #JohnCage #ModernArt #Sculpture

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

The article showcases a solo installation titled 'If Chairs Could Talk' by London-based artist and designer Yinka Ilori, presented in collaboration with The Shop at Bluebird. Ilori is known for his work with upcycled furniture, and this particular collection draws inspiration from his Nigerian heritage, specifically traditional Nigerian parables and African fabrics. The chairs are characterized by their vibrant colors and narrative elements, aiming to tell stories through their design. This installation is part of the London Design Festival and will be on display until November 27th, 2015. The collaboration highlights a fusion of cultural storytelling with contemporary design practices, where discarded furniture is transformed into unique, culturally rich pieces. Ilori's creative process involves selecting chairs, often found or discarded, and then reimagining them with new upholstery and paint, integrating patterns and themes derived from Nigerian culture. Each chair in the 'If Chairs Could Talk' collection is intended to represent a specific parable or aspect of Nigerian tradition, effectively giving a voice to inanimate objects. This approach not only provides an aesthetic transformation but also imbues the furniture with deeper cultural meaning and narrative. The use of traditional African fabrics, known for their bold colors and intricate patterns, plays a crucial role in conveying these cultural narratives. Through his work, Ilori bridges the gap between art, design, and cultural heritage, offering a unique perspective on sustainability and storytelling through repurposed objects. The exhibition at The Shop at Bluebird provides a platform for these discussions, inviting viewers to engage with the chairs not just as functional items but as pieces of art that carry historical and cultural weight. The installation underscores the potential of upcycling to create new value and foster cultural appreciation. The project demonstrates how design can serve as a medium for preserving and reinterpreting cultural narratives, making them accessible to a wider audience. The chairs, once ordinary, become extraordinary artifacts, each speaking to a rich tapestry of Nigerian wisdom and artistry. This initiative reflects a growing trend in design towards sustainability, cultural authenticity, and storytelling, presenting furniture as more than just utilitarian objects but as carriers of memory and meaning. #UpcycledFurniture #NigerianDesign #AfricanFabrics #YinkaIlori #LondonDesignFestival #CulturalHeritage #SustainableDesign #ArtisticFurniture #InteriorDecoration

This article explores how three Westchester homeowners master the art of chic collecting, blending formidable treasures and flawless taste to create truly livable homes rather than museum-like spaces. Each homeowner or couple showcases a unique approach to integrating extensive and diverse art collections into their personal residences. Karen Schlansky's Chappaqua home, which also functions as a gallery for her business, Rose Court Asian Antiques, exemplifies how Asian art can be seamlessly integrated into various decors. Her 1987-built "country barn" style home, characterized by wide-planked pine floors and exposed-beam ceilings, eclectic furnishings, and diverse collections. Schlansky's collection includes Tang Dynasty pottery sculptures, a third-century pottery lokapala, and Ming Dynasty musicians, which she skillfully mixes with contemporary furniture and art from other cultures like African masks and Southwestern paper collages. Her journey into antique dealing began with a passion for Chinese history and culture during her travels, leading her to establish Rose Court Asian Antiques in 1997. Initially, her gallery was in the lower level of her home, but she later moved it to the first floor to better demonstrate how the pieces would look in a living space. While most of her pieces are for sale, a cherished Qing Dynasty lacquered leather box, representing her family's leather business, remains a permanent fixture, symbolizing her past, present, and future. Dr. Lewis Shapiro and Linda Swanson, after downsizing from a rustic Briarcliff Manor home to a two-bedroom condominium in Trump Tower at City Center, faced the challenge of displaying their extensive global art collection. Their collection, which began in 1985 after Swanson acquired African art from Sotheby's, includes 20th-century wooden masks from Western Africa, thousand-year-old Casas Grandes pottery from Mexico, and antique Chinese snuff bottles. They enlisted Scarsdale interior designer Linda Blair of Blair Interiors Group, Ltd., who, as a collector herself, understood their desire to integrate art into their living space rather than merely displaying it. Blair designed the apartment with a neutral color palette of cream, beige, and caramel to highlight the art and used traditional yet comfortable furniture. Custom cabinetry in the living room showcases a range of their prized pieces, such as a painted gold Ashanti staff finial, a Kuba cub, and a Dan chimpanzee mask. A concrete pillar was transformed into a display for intricately carved Yoruba twins, and an illuminated niche in the entry foyer highlights ancient Roman artifacts, flanked by 16th-century French church columns. The entrance also features framed illuminated miniatures from Les Très Riches Heures du Duc de Berry, holding both artistic and sentimental value for Swanson. Blair's goal was to unify and organize their diverse collection, creating a livable space that avoided feeling like a museum. Marc and Denyse Ginzberg, homeowners in Rye, have transitioned from collecting African art to focusing on Ethiopian crosses. Their sleek, modern home, designed by Charles Forberg in 1993, offers spectacular water views and features custom-made shelves, antique armoires, and chests to display their collections. Initially, their collection included world-class African art such as ceremonial combs, hairpins, hats, sword handles, spoons, clubs, and whistles. After collecting for over 35 years and amassing an impressive collection of authentic African masks and sculptures, the Ginzbergs decided to sell their figurative works due to rising prices. They then shifted their focus to non-figural, abstract objects of use, known as "forms," which were featured in Marc's book, African Forms. After auctioning off a significant portion of this collection at Sotheby's Paris, breaking records for non-figurative African art, the Ginzbergs have now turned their attention to intricately designed Ethiopian crosses from the 12th to 19th centuries, composed of bronze, iron, wood, and silver. This new passion reflects their continuous engagement with collecting and their ability to identify emerging areas of interest in the art world, often ahead of museums and other collectors. #ArtCollection #HomeDesign #InteriorDesign #AsianAntiques #AfricanArt #EthiopianCrosses #ArtCollecting #DecorativeArts #HomeDecor

The article explores the growing trend of creating portrait gallery walls, presenting them as a unique and personal decor choice for those who find solace in art depicting human forms. It highlights how these galleries, unlike traditional ones, are designed to gather beloved and intriguing faces, offering comfort and companionship without the demands of social interaction. Historically, portraits have served as a means of remembrance, and this contemporary application extends that tradition into home decor, allowing individuals to curate a collection of faces that resonate with them. The piece delves into various approaches to designing portrait gallery walls, featuring insights from several designers and decorators. Michelle Gage, a Philadelphia-based designer, shares her concept of "stranger art," where she curates collections of unrefined oil-on-canvas portraits. Gage describes her organic method of acquiring pieces from flea markets and estate sales, emphasizing that her hanging strategy is intuitive rather than meticulously planned. She recounts the story of her first portrait, a girl in a purple shirt, and another, a woman named "Betty," found under a pile of junk, illustrating the personal connections formed with these artworks. Gage also mentions a collaborative hanging process with her husband, where she eyes the placement and he handles the physical installation. Danielle Nagel, a designer and photographer, discusses her vibrant portrait gallery, which is a tribute to her late grandmother. Her collection, backed by a striking red Hygge & West wallpaper, consists of her grandmother's paintings of women, characterized by bold and bright colors against dark backgrounds. Nagel drew inspiration from a Frida Kahlo art display and incorporated her grandmother's self-portrait, which she considers a signature piece reflecting her grandmother's essence. She details her methodical approach to planning the layout, which involved arranging paintings on the ground, photographing them, and even photoshopping them onto the wall to ensure harmony with the wallpaper and frame colors. Liz Solms of Banana Tree Consulting shares her personal and eclectic approach to a portrait gallery focusing on the female nude. She explains her fascination with the varied and captivating nature of the nude female body, aiming for an illuminating rather than jarring display. Solms, a collector of Haitian art, began her collection with a piece by an unknown Haitian artist and sought to include a variety of styles and mediums. She highlights an eBay find—an oil and acrylic piece mixed with collage from the 1970s—as a favorite, noting its unique blend of allure and comfort. Erin Wheeler, a stylist and designer, reveals that her bedroom gallery wall originated from a graphic wallpaper print, which she wanted to complement with portrait art. She chose pieces with colors that would both harmonize with and stand out against the wallpaper, featuring Janet Hill's "Florida" as a key piece. Wheeler emphasizes the importance of incorporating vintage elements into her designs, believing that the faces in her gallery bring soul to the room. Finally, Ali Arakawa, co-owner of Fare Well Trading, describes her collection of portraits featuring men with facial hair, primarily sea captains, which she acquired while sourcing for a client. She notes that these pieces serve as nostalgic reminders of her past projects. Arakawa offers practical advice on arranging portraits, suggesting that larger pieces be placed first and that head positions and eye directions be considered to create a sense of conversation or interaction among the artworks. #PortraitGallery #GalleryWall #HomeDecor #InteriorDesign #ArtCollection #DesignInspiration #PersonalStyle #WallDecor

Mickalene Thomas's exhibition series, 'Beyond the Pleasure Principle,' is a four-part, multi-site presentation across Lévy Gorvy galleries in New York, London, Paris, and Hong Kong. This international exhibition features interconnected bodies of work, including paintings, illustrations, and video pieces, expanding on Thomas’s extensive study of the Black female body as a symbol of power, eroticism, agency, and inspiration. The timing and scale of this exhibition necessitated Thomas to work on multiple bodies of work simultaneously, tailored to the cultural audience and socio-political context of each city. The exhibition’s design is specifically adapted for each of its four locations. The series began in New York in early September, where Thomas unveiled her latest large-scale _Jet_ paintings. These works draw inspiration from vintage pin-ups found in _Jet_ magazine, a publication central to Black American life since 1952. Thomas recontextualizes these anonymous pin-ups through diverse material techniques, including silkscreen, oil, acrylic, and rhinestones, to celebrate their beauty, strength, and individuality. In these pieces, Thomas employs the formal language of 19th and 20th-century avant-garde movements to express freedom, fluidity, and experimentation. Furthermore, she integrates and highlights the political paradigm of Black liberation, positioning the works as a vanguard of American culture. The narrative continues in London, where the second part of the series delves deeper into the historical context of the source material. Seven new _Jet Blue_ paintings feature archival imagery from _Jet_ magazine, initiating a refreshed dialogue about beauty and identity in contrast to outdated cultural perceptions. These historical images carry significant personal weight for Thomas, as she typically works with subjects she knows intimately, and her adolescence in the 1970s profoundly influenced her artistic output. Additionally, this segment of the exhibition includes the debut of _Je T’aime Trois_ (2018), a film created in collaboration with her life partner and muse, Raquel Chevremont. Thomas’s artistic practice is dedicated to portraying Black beauty, femininity, and power in a manner that liberates these concepts from cultural oppression and marginalization. Her engagement with a touchstone of Black American culture like _Jet_ magazine underscores her commitment to making both historical and contemporary celebrations of Black identity, femininity, queerness, and transgressiveness more visible. The sequential presentation of the shows is critical for establishing a comprehensive narrative, allowing viewers to experience a cohesive journey. While the shows are distinct, each possessing unique aesthetic formalisms and references, collectively they form a thematically consistent thread concerning the Black female body, connecting the various cities and countries. The third and fourth chapters of the exhibition, opening concurrently in Paris and Hong Kong in October, offer audiences the opportunity to experience the full scope of Thomas’s vision both in person and virtually through installation videos, extending the artistic journey to a global audience. #MickaleneThomas #BeyondThePleasurePrinciple #BlackArt #FemaleArtists #ContemporaryArt #Exhibition #LévyGorvy #JetMagazine #BlackBeauty

The exhibition by London-based photographer duo Adam Broomberg and Oliver Chanarin at the Foam gallery in Amsterdam delves into the history of photography, specifically exploring the issues of race and color that have been inherent in its development and technology. The title of their exhibition, "To photograph the details of a dark horse in low light," is inspired by Kodak's euphemism for a new film released in the early 1980s, which aimed to address criticisms of its racially biased film stock. The genesis of this exploration traces back to filmmaker Jean-Luc Godard's critique in the late 1970s, where he refused to use Kodak film, calling it 'racist' because its chemical composition made black faces appear featureless unless specially compensated. Broomberg and Chanarin initiated their project by using a medium format Kodak film stock with a 1978 expiry date to photograph rare initiation rituals in Gabon. Despite numerous rolls shot, they were only able to develop a single, underexposed image of a palm leaf. This seemingly simple image became a cornerstone for their complex investigation into race and photography, highlighting how product development in the industry was racially skewed and how default settings could effectively erase or distort non-white faces. A significant piece in the exhibition is a scaled-up reproduction of 'Shirley,' an image of a white model that Kodak circulated to photo labs in the 1950s. This image served as a benchmark for 'normal' color balance and dynamic range, underscoring the historical bias towards white skin tones. The artists also address the notorious difficulty of capturing both black and white faces in the same photograph using early color film, which often led to compromises in representation. Another series, titled "Polaroid Revolutionary Workers Movement," utilizes a salvaged Polaroid ID-2 system, a twin-lens camera previously employed by South Africa's apartheid regime. This system was used to create images for passbooks that black South Africans were compelled to carry, capturing both a straight-on portrait and a profile on a single sheet of film. The exhibition highlights the activism of Caroline Hunter, a chemist at Polaroid Corporation, who formed the Polaroid Workers Revolutionary Movement in 1970 to protest the company's dealings with the apartheid regime. Her efforts, along with the movement, eventually led to Polaroid ceasing its supply to the South African government seven years later. Further demonstrating the non-innocent nature of photography, other works in the exhibition involve darkroom equipment and instructions inherited from a family friend. These were used to produce black and white test strips, illustrating how varying exposure times affect the rendering of 'color' and revealing the technical biases embedded in photographic processes. The artists also purposefully misused dodging tools during development to further emphasize that photographic processes are not neutral and inherently influence how subjects are depicted, especially concerning race and skin tone. #Photography #ArtExhibition #RaceAndPhotography #AdamBroomberg #OliverChanarin #Kodak #Polaroid #Apartheid #ArtAndActivism