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A to Z of Caribbean Art [Archer, Melanie, Brown, Mariel, Perrée, Rob, Patterson, Adam, MacLean, Geoffrey, Khanna, Indra, Raymond, Judy, Kennedy, Katherine, Oliver, Keisha, Pratt, Letitia, Pearce, Marsha, Barnett-Davidson, Monique, Urquhart, Natalie, Smythe-Johnson, Nicole, Ganase, Pat, Hadchity, Therese, Poupeye, Veerle] on Amazon.com. *FREE* shipping on qualifying offers.

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Bluid and Sweat by Clare Samuel

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Creole in the Archive: Imagery, Presence and the Location of the Caribbean Figure (Critical Perspectives on Theory, Culture and Politics)

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The image of the Caribbean figure has been reconfigured by photography from the mid-19th century onwards. Initial images associated with the slave and indentured worker from the locations and legacies associated with plantation economies have been usurped by visual representations emerging from s...

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THE FOCAL PRESS COMPANION TO THE CONSTRUCTED IMAGE

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THE FOCAL PRESS COMPANION TO THE CONSTRUCTED IMAGE

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This compendiumexamines the choices, construction, inclusions and exemptions, and expanded practices involved in the process of creating a photograph. Focusing on work created in the past twenty-five years, this volume is divided into sections that address a separate means of creating photographs as careful constructs: Directing Spaces, Constructing Places, Performing Space, Building Images, and Camera-less Images. Introduced by both a curator and a scholar, each section features contemporary artists in conversation with curators, critics, gallerists, artists, and art historians. The writings include narratives by the artist, writings on their work, and examinations of studio practices. This pioneering book is the first of its kind to explore this topic beyond those artists building sets to photograph.

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The Focal Press Companion to the Constructed Image in Contemporary Pho

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This compendiumexamines the choices, construction, inclusions and exemptions, and expanded practices involved in the process of creating a photograph. Focusing on work created in the past twenty-five years, this volume is divided into sections that address a separate means of creating photographs as careful constructs: Directing Spaces, Constructing Places, Performing Space, Building Images, and Camera-less Images.

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CASTA PAINTING: IMAGES OF RACE IN 18th CENTURY MEXICO

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CASTA PAINTING: IMAGES OF RACE IN 18th CENTURY MEXICO

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Casta Painting: Images of Race in Eighteenth-Century Mexico

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Casta Painting: Images of Race in Eighteenth-Century Mexico [Katzew, Ilona] on Amazon.com. *FREE* shipping on qualifying offers. Casta Painting: Images of Race in Eighteenth-Century Mexico

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The title of the series "Backra Bluid" draws from words of West Indian and Scottish origin.  the term "backra" is am archaic Caribbean slang of West African origin meaning a white person or master, while the word "bluid" is the Scots word for the blood of men and animals as well as kin.  As a black child attending a predominantly white school there were often occasions where I would listen to my classmates proudly lay claim to their Scottish, Irish and English heritage while I would silently acknowledge my own.  In many parts of my family there are people from Scotland, Ireland and England.  As an adult on the odd occasion when I do mention this part of my heritage I am often met with uncomfortable looks from whites and knowing nods from blacks.  I feel that this is due to the fact that with the very act of mentioning such ties I am inadvertently reminding them of the brutal system of colonial African slavery and its legacy that has brought about such connections.

The images in this series are an attempt to interpret and explore these relatives both past and present that I know are out there. They are also to a degree a reflection on my own perceptions and preconceptions of whiteness. There is a dualism that is inherent in the Euro-centric constructs of "whiteness' and "blackness" in Western societies. It leaves little room for the reality that the majority of people in post-colonial societies are generally hybrids of its past and current inhabitants. Upon viewing my physical features I am automatically assigned a racial identity by whoever is looking at me. Skin color often obscures and over-rides the features ad markers of other races that may be present in my genetic makeup. By simply changing my skin color and making subtle tweaks to my facial features I which to show that if someone were to take a closer look at my face they would see that it might not be that much different from their own.

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FINDING INSPIRATION IN (PERSONAL) HISTORY

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FINDING INSPIRATION IN (PERSONAL) HISTORY

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Myself and my family are the direct decedents of African slaves and the European colonizers who inhabited the Caribbean and the Americas starting in the 16th century.  It goes without saying that I therefore  have a keen interest in learning more about my heritage and how the history of these regions have laid the bedrock for the social and political dynamics that we live in today.

(below) Slave register for the Hermitage Plantation, Nevis

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As children and citizens of the British Empire my parents were taught that its reach over its domain was one in which "the Sun Never Set".  Proudly they would recite "Rule Britannia!", proclaiming that "Britons never will be slaves..."  Completely unaware of the irony that these lyrics, written in the late 1700s by James Thomson, were being repeated by the direct descendants of the very African slaves and Indigenous peoples that England had used to build its powerful commonwealth.  Never did society at the time of its writing think that the descendants of  these chattel would become free subjects who would at some point be encouraged to seek their fortunes on her shores.

The female allegories used to represent the colonizing countries of the Western world can alternately be seen as one for the ideal of white womanhood during the 19th and early 20th centuries.  These figures are at once virginal, demure and nobly highlighting the path to enlightenment and victory for the country she meant to embody.  She is a figure that has been used to rally troops and patriots alike to fight on her behalf.  Her gaze is full of hope and often looking upwards towards the glorious manifest destiny she is guiding her subjects to what lies ahead.  Her magnanimous demeanor is permeated with her assumed cultural superiority, progress and civilization.  This easily can be seen in paintings and images that depict Columbia (USA) being guided by wisdom and of Britannia freeing her slaves.

There is a paradox that is embedded within the relationship of any colonial power and its former and current subjects.  Her citizens are taught from an early age to love her and protect her in order to find themselves in the unbiased glow of her love.  The expectation is that, however naive, they will be shown this love in return.  Yet in a historical and contemporary context once these non-white subjects began to immigrate to her shores as part of the Windrush Generation they abruptly found themselves not in the warmth of her love but as the living embodiment of the Other and as objects of disdain.  The figures in this series are an attempt to try to reconcile what really lies beneath these symbols of nationhood and for whom they are intended.

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British Library

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The Royal African Company was an English trading company that was set up in 1660 by the royal Stuart family and the City of London merchants to create a monopoly for trading along the west coast of the African continent.  Its primary business was in providing slaves from Africa to the Americas as part of the Triangular Trade.  At one point in time its headquarters were located on the island of Nevis which meant that people had to come from other islands to its slave market in order to make purchases for their plantations.

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Vernacular photography is an umbrella term that is used to distinguish fine art photographs from those made by non-artists for a wide range of purposes, including commercial, scientific, forensic, governmental and personal. Its most major form includes snapshots capturing everyday life and subjects.

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1493: Uncovering the New World Columbus Created

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1493: Uncovering the New World Columbus Created [Mann, Charles C.] on Amazon.com. *FREE* shipping on qualifying offers. 1493: Uncovering the New World Columbus Created

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WHAT WAS THE              SISTEMA DE CASTA SYSTEM (aka CASTE SYSTEM)?

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WHAT WAS THE              SISTEMA DE CASTA SYSTEM (aka CASTE SYSTEM)?

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The Sistema Casta was devised by the Spanish and Portuguese (but also appears in various forms in the British and French colonies) to racially and socially categorize people.  These labels had legal and social consequences.  Each came with its own set of privileges and restrictions and would dictate their standing in society.

(below) Las Castas, Anonymous, 18th century, oil on canvas, Museo Nacional del Virreinato, Mexico

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Currently I'm working on a series of images that explore the historical entanglement and interplay both of white and black womanhood. Again as i have done in the past I am drawing from my readings and images archive research to formulate ideas.

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I am a lens-based artist and a 1st generation Canadian whose family is from the island of Nevis in the Caribbean.  I attended OCAD University where I majored in Fine Art Photography.  I currently live and work in Brooklyn, NY USA.

My work explores the intersectionality of race, heritage and identity as it relates to the Caribbean Diaspora and post-colonial societies.  My images are part of the Royal Bank of Canada's Art Collection  and have been exhibited at the Scottish National Gallery of Modern Art, the Royal Ontario Museum, the Red line Museum Colorado, the Power Plant Contemporary Art Gallery, the Canadian Museum for immigration and the Center for Photography at Woodstock.  I've also had my work written about and included in publications including the Huffington Post, Marie Claire South Africa, MFON: Women Photographers of the African Diaspora , the Focal Press Companion to the Constructed Image, and A-Z Caribbean.

Visit my website:  www.staceytyrell.com

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Women, Slavery and Resistance

Paperback with free ebook

Hardback with free ebook

The story of how enslaved women struggled for freedom in the West Indies

Aside from Mary Prince, enslaved West Indian women had few opportunities to record their stories for posterity. Yet from their dusty footprints and the umpteen small clues they left for us to unravel, there's no question that they earned their place in history. Pick any Caribbean island and you'll find race, skin colour and rank interacting with gender in a unique and often volatile way. Moreover, the evidence points to a distinctly female role in the development of a culture of slave resistance-a role that was not just central, but downright dynamic.

From the coffle-line to the Great House, enslaved women found ways of fighting back that beggar belief. Whether responding to the horrendous conditions of plantation life, the sadistic vagaries of their captors or the "peculiar burdens of their sex," their collective sanity relied on a highly subversive adaptation of the values and cultures they smuggled with them naked from different parts of Africa. By sustaining or adapting remembered cultural practices, they ensured that the lives of chattel slaves retained both meaning and purpose. This sense of self gave rise to a sense of agency and over time, both their subtle acts of insubordination and their conscious acts of rebellion came to undermine the very fabric and survival of West Indian slavery.

"Shocking, enlightening, fascinating, challenging, A Kick in the Belly reframes the overwhelmingly male perspective on the transatlantic slave trade through female experiences and acts of resistance. It is a essential corrective to centuries of sublimation and the presentation of black women who lived through this history as passive victims. I cannot recommend it highly enough."

"In clear, accessible prose, this book upturns versions of the past that privilege his-story, revealing a more complex and many-layered past, one in which enslaved women were central to the struggle for freedom."

"Stella Dadzie has given us another chapter in women's history by uncovering resistance that is uniquely rooted in controlling reproduction. This is a meticulously researched narrative that privileges the people who were so brutally treated that it was easy to assume they had no agency. We now know that such an assumption would be mistaken. This is an essential addition to the corpus of historical study into the nature, legacy and impacts of the period of African enslavement. It's finally a work that allows us to better understand and recognise how women disrupted the principal economic principles supporting the enslavement of generations of people."

"What has become distinctive of Dadzie's scholarship is the way she centres black women in their own stories and this continues in A Kick in the Belly ... After being fed narratives that 'the material doesn't exist,' A Kick in the Belly shows that it is really a matter of knowing where to look and how to listen."

"Amplifies and honours the innovative ways women fought for freedom and kept their cultures alive despite the brutality they faced ... When filmmaker Ava DuVernay says she is her ancestor's wildest dreams, these are the women she's talking about."

"Highlighting the experiences of enslaved women in the Anglo-Caribbean, Dadzie gives primacy, as she did in her seminal book Heart of the Race (with Beverley Bryan and Suzanne Scafe), to Black women's voices. In doing so, she puts a narrative of empowerment and hope at the centre of the brutal history of slavery."

"Transatlantic slavery is one of the most misunderstood and misrepresented periods of history. Stella Dadzie offers a much-needed corrective by centring on the experiences of black women forced into the plantation system."

"Over 200 or so pages of impassioned prose, [Dadzie] delves into the many stories of female freedom fighters, from Jamaica's Queen Nanny of the Maroons, who used guerrilla warfare against the British, to those who murdered their masters with poisoned draughts like Baby of St Kitts, or became runaways like Betty, Charlotte and Molly who took flight as a trio from their Barbados plantation."

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Women, Slavery and Resistance Paperback with free ebook Hardback with free ebook The story of how enslaved women struggled for freedom in the West Indies Aside from Mary Prince, enslaved West Indian women had few opportunities to record their stories for posterity.

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DIDO ELIZABETH BELLE & LADY ELIZABETH MURRAY

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DIDO ELIZABETH BELLE & LADY ELIZABETH MURRAY

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David Martin, Original Painting at Scone Palace, Perthshire, Scotland  (1761-1804)

These two women depicted were cousins who were raised together and lived at Kenwood House, Hampstead in London.  Both were placed into the care of their Uncle, William Murray, the 1st Earl of Mansfield.  Dido Elizabeth (left) was the daughter of Sir John Lindsay, a British Naval Rear Admiral, and an enslaved African mother.  Herself a slave due to her mother's status, she was raised as the Lady's Companion to her cousin Lady Elizabeth Murray (right).

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(below) Little Marie on Neky's Arm by N.P. Holbech, Denmark 1838

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Ceremonies of Possession in Europe's Conquest of the New World, 1492-1640

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This work of comparative history explores the array of ceremonies that the English, the Spanish, the French, the Portuguese and the Dutch performed to enact their taking possession of the New World. The book develops the historic cultural contexts of these ceremonies, and tackles the implications...

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By using my own work in 3 case studies, we will look at the various sources and elements that can be drawn on for inspiration when creating self-portraits.

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SELF PORTRAITURE &         THE COLONIAL GAZE

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SELF PORTRAITURE &         THE COLONIAL GAZE

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How does Self-Portraiture differ from traditional forms of photographic portraiture?

Where does it fit in the canon of Photography and how does it integrate into its history?

How has the Colonial gaze effected depictions of non-European peoples?

How can it be used as a tool for social and political commentary?

How does the role of the photographer play into portraiture?

How does their identity and world view  impact the images that they create?

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by Eugene Delacoix (1830)

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Photography Changes Everything [Heiferman, Marvin, Foresta, Merry A.] on Amazon.com. *FREE* shipping on qualifying offers. Photography Changes Everything

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Postcard by circa early 20th century by A Moure Losada

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(American/Korean, born 1970)

Nikki S. Lee is a contemporary Korean artist best known for her identity shifting photographs and videos of American subcultures. Often shot with disposable cameras by passersby, Lee's most recognizable photographs including her Hispanic Project, are self-portraits reminiscent of those by Cindy Sherman. Dressed and made up in different outfits, Lee posed herself as a punk, yuppie, Hispanic woman, or black hip-hop star. "I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture," the artist said of her process. "You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable." Born in 1970 in South Korea, Lee earned her BFA at Chung-Ang University in South Korea in 1993 before moving to New York in 1994 where she studied at the Fashion Institute of Technology. Lee finished her studies at New York University, where she received an MA in photography in 1998. She currently lives and works in Seoul, South Korea, her works are included in the collections of the Institute of Contemporary Art in Boston, the Solomon R. Guggenheim Museum in New York, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

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Nikki S. View Nikki S. Lee's 76 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available photographs, and prints and multiples for sale and learn about the artist.

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A gallery featuring a selection of photographs taken by Irving Penn on his travels around the world.

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Michael Disfarmer was a small-town portrait photographer whose negatives came to national attention in 1973, when Julia Scully published them in Modern Photography. Scully had learned of them from Peter Miller, an Arkansas newspaper editor, who had received a few of Disfarmer's glass-plate negatives in response to a call for old photographs. What drew Miller and Scully to the images was the directness and unaffected quality of the portraits, which seemed to reveal the character of their subjects most perceptively. This sensibility may have stemmed from the fact that Heber Springs, where Disfarmer lived and worked, was a very small town where everybody knew the photographer. Whatever the case, Disfarmer's portraits are among the most moving documents of rural life in the American south between 1930 and 1959.
Disfarmer was not a particularly social individual, and little is known about his life. He was born Mike Meyer in Indiana and moved to Arkansas with his parents in the late 1800s. After his father died in 1914, he moved with his mother to Heber Springs, where he constructed a photography studio on the back porch of their house. Around 1930, when a tornado killed his mother and destroyed his house, he built a new studio on Main Street, and established himself as the town photographer. He tended to keep to himself, and was considered strange and eccentric by many townspeople. He changed his name to Disfarmer after his mother's death because he believed that a tornado had taken him from his real place of birth and deposited him with the Meyer family. Disfarmer used 5 x 7 inch glass plates early in his career and 3 ¼ x 5 ½ inch plates later, and he always made contact prints.
Lisa Hostetler
Handy et al. Reflections in a Glass Eye: Works from the International Center of Photography Collection, New York: Bulfinch Press in association with the International Center of Photography, 1999, p. 214.

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Michael Disfarmer was a small-town portrait photographer whose negatives came to national attention in 1973, when Julia Scully published them in Modern Photography. Scully had learned of them from Peter Miller, an Arkansas newspaper editor, who had received a few of Disfarmer's glass-plate negatives in response to a call for old photographs.

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I create my own props and costumes before I get into the studio.  Once there I set up all of my own lighting and then apply the make up to myself . With the help of a studio assistant I am able to reach the spots that I cannot on my own as well as frame up and shoot the images.

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Carte De Visite of Henry Morton Stanley & Kalulu, London Stereoscopic & Photographic Company, 1872

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Author:  Stacey Tyrell
Padlet Management: The Open College of the Arts

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DOCUSERIES:     EXTERMINATE ALL THE BRUTES 

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DOCUSERIES:     EXTERMINATE ALL THE BRUTES 

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Exterminate All the Brutes | Official Website for the HBO Series | HBO.com

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The official website for Exterminate All the Brutes on HBO, featuring interviews, schedule information, behind the scenes exclusives, and more.

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INTERNATIONAL CENTER FOR PHOTOGRAPHY -  ARCHIVES ONLINE

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INTERNATIONAL CENTER FOR PHOTOGRAPHY -  ARCHIVES ONLINE

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This website stores cookies on your computer. These cookies are used to collect information about how you interact with our website and allow us to remember you. We use this information in order to improve and customize your browsing experience and for analytics and metrics about our visitors both on this website and other media.

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Photographs in Autograph’s collection date from the 1860s to the present day, encompassing different photographic genres and themes.

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ANCESTRY DNA RESULTS:                                       THE ULTIMATE DEEP DIVE

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ANCESTRY DNA RESULTS:                                       THE ULTIMATE DEEP DIVE

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As part of my ongoing research for my various projects I thought it would be interesting to have a genetic test conducted to see what lies in my DNA and if it matched what i had been told by my family. My results basically tell the story of what happened historically in the last few centuries in the Caribbean and the Americas.

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Like millions of other people from Britain's colonies my parents and grand parents were part of the Windrush generation.  Leaving behind their lives, friends and families they ventured to the United Kingdom and Canada to seek their fortunes and help rebuild.

(below) Passport used by Gilbert Tyrell (my father) to enter Canada

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This was a Spanish labour system that rewarded 'conquerors" with the labor of particular groups of non-Christian people. It was applied on a massive scale in the Americas to monopolize the labor of particular groups in perpetuity.

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by John Gast (1872)