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https://www.womankind.org.uk/intersectionality-101-what-is-it-and-why-is-it-important/

https://onlinelibrary.wiley.com/doi/10.1002/9781118957882.ch6

https://plato.stanford.edu/entries/hegel-dialectics/

https://ndpr.nd.edu/reviews/foucault-s-philosophy-of-art-a-genealogy-of-modernity/

https://www.psychologydiscussion.net/theory/psychoanalytic-theory-of-art-and-literature-explained/493

Foucault, M. (1976) The History of Sexuality. Vol. 1, The Will to Knowledge, trans. R. Hurley. London: Penguin, 1998.

- Hall, S. (1980) Race, Articulation and Societies Structured in Dominance in Sociological Theories: Race and Colonialism.

- Hall, S. (1986) Gramsci's Relevance to the Study of Race and Ethnicity. Journal of Communication Inquiry.

- Hall, S. (2005) The Deluge – and After in: Bailey, D., Boyce, S. and Baucom, I. eds. Shades of Black: Assembling the 1980s' Britain, pp.1-20. New York: Duke University Press.

https://theconversation.com/explainer-the-ideas-of-foucault-99758

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Intersectionality is the acknowledgement that everyone has their own unique experiences of discrimination and oppression and we must consider everything and anything that can marginalise people – gender, race, class, sexual orientation, physical ability, etc.

Kimberlé Crenshaw, 1989

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Michel Foucault contends that the most human part of man is his history. (History of Sexuality)

Throughout history, there has been an 'endlessly repeated show of dominance', where the events of history have arisen as the result of the overlapping of multiple, competing forces.

It is based on the premise that power is more radically dispersed than conventional thinking admits. The theories of Michel Foucault also focus on the connections between power and knowledge and how that power is used as a form of social control in societal institutions.

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Dialectical philosophy derives from ancient Greek philosophers such as Plato and Socrates, who used dialectical arguments to resolve divergent viewpoints -
“Dialectics” is a term used to describe a method of philosophical argument that involves a conflict between opposing sides.

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The sociologist and the writer and poet Edouard Glissant commonly examine the process of creolization.

Creolization occurs when participants take elements of newly arrived or inherited cultures, give them meanings that are different from what they had in their original cultures, and creatively merge these elements to create new varieties that are superior to their predecessors.

There are different processes of creolization have shaped and reshaped the different forms of one culture. For example, food, music, and religion have been impacted by the creolization of today's world.

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Representation, Hegemony and Stereotype based Stuart Hall

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Representation, Hegemony and Stereotype based Stuart Hall

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- We live in a media-saturated world, where Reality is seen through them, albeit media is adulterated and not transparent.
- Formalization of Society
- Patriarchy
- Sense of Otherness and Alienation in Society
- Modified Reality
- Society of Stereotypes (Media Representation)
- Meanings created by Media to represent Society
- Identity, sexuality and gender are all represented in stereotypical ways to asserts dominance.
- Avoid the news to find different perspective and realities through Music, Art

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Human mobility is both a cause and a consequence of global interconnectedness and foraging new forms of belonging and self-expression.
Rooted in Hall’s ideas that our cultural identity is a matter of ‘becoming’, rather than a fixated ‘being’.

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The renowned cultural studies of the theorist Stuart Hall saw identity as being full of endless possibilities for Black artists.

Stuart Hall made a significant contribution to critical theory, cultural studies, media studies, race studies, and postcolonial studies. Keeping in line with Gramsci's "organic intellect," his epistemological stance was embedded within political and social commitments.

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Maud Sulter. (1989) Clio [Cibachrome print] Manchester: Touchstones Gallery.

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Zabat photographic series (1989) depicts nine contemporary Black women who represent mythological Greek Muses. Along with the portraits, the artist also wrote poems that tell the stories of real or imagined historical women. Alice Walker is quoted by Sulter as saying, ‘I don't read history for facts, I read it for clues’ (Walker, 1989, cited in Sulter, 1989, unpaged).

The series uses an allegorical mode of representation that takes advantage of historical precedent, the artist explores a diaspora aesthetics of ‘gathering and re-using’ and the ‘allegorical impulse’ as rescuing from historical oblivion what threatens to disappear. Fusing African and Western elements, each muse in Zabat series embodies a different area of creativity. ‘Conventionally presented in history of Western art as white women (…)’, they are portrayed by contemporary black women writers, activists, musicians and artists (Cherry, 2013, pp.160-161).

The portraits include a variety of dialects that reflect the Black Arts Movement, as well as the Lesbian and Feminist movements of the time.  It challenges the stereotypes made of Black women throughout history and the ways in which they are invisible in today's society, ‘(…) with the idea of how black women’s creativity is present then disappears, the notion of the disappeared creative person.’ (Haworth-Booth, 1992, pp.266).

Zabat is a critical revision of colonial heritage, a reflection on the European gaze on Black bodies in the past, and a creative engagement with images and visual patterns that impact contemporary neo-colonial culture. It also reveals how Black feminist readings revive the Black figure and reveal her presence, emerging as a challenge to the invisibility of Black women in the canon of what galleries and exhibition spaces portray.

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Pedro Costa, Rui Chafes, Paulo Nozolino

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https://artmuseum.princeton.edu/collections/objects/42505

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Autel de Lycée Chases (Altar to the Chases High School) (2004-45 a-vv)

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Memory, mortality, and trauma, particularly as they pertain to the Holocaust, are central themes in Christian Boltanski’s work, as is the tension between appearance and disappearance, obfuscation and revelation. Over the course of his long career, Boltanski has worked in a variety of media, but he is best known for installations such as Altar to the Chases High School, in which lamps and rusty biscuit tins frame reproductions of class pictures taken in 1931 at a Jewish high school in Vienna. The design deliberately mimics that of a medieval altarpiece, with its candles, reliquaries, and painted portraits. Unlike a traditional memorial, however, the lamps that illuminate the pictures in Altar to the Chases High School also obscure them, effacing the individuals they represent. Deprived of both detail and context, moreover, these ghostly photographs betray little of their historical origins. In this way, the work conveys the universality of suffering as well as the insurmountable challenge of remembering — and representing — harrowing events.

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http://www.maepreta.net/a-fotografia-e-a-maternidade-negra-vislumbrando-uma-autoridade-para-a-maternidade-negra/

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analysing the visual elements used in portraits

learning about and discussing themes relating to Black identity and Black history

thinking about representation and how it can use portraits and archive to explore identity and raise awareness of issues that are important

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Maud Sulter critically investigated the legacies of colonialism in visual culture and museum collecting, histories of persecution and injustice, black women’s creativity and the long-standing cultural connections between Africa and Europe. Maud Sulter strove to place black women at the centre of an art history that had excluded them and in this poem she is celebrate the Blacknes and the woman's criativity.

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In taking photos of African American communities, they could participate in the creation of their own image, provide documentation and culture, and thus provide what mainstream culture couldn't offer. Their humanity, complexity, beauty, and cultural intellectual authority are continually confirmed.

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Sources: https://monovisions.com/alberto-henschel-biography-19th-century-portrait-photographer/

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Archive showing how African women were portrayed and how certain values were passed on after slavery was abolished.
The African woman is still associated with the home and the kitchen, referred to as a "mammy".

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https://www.mdhistory.org/resources/eliza-benson-holding-anna-bradford-hayden/

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When I first saw these photos, I felt a sense of dehumanization, and my intention is to re-appropriate these images to give meaning to the person portrayed.

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The photography became a powerful vehicle for black self-representation and celebration, being affordable to everybody became an image maker in their own right.

Depicting black humanity and radical joy through everyday photos, new narratives can be created within the art canon and to show reality of the black experience.
Through photography and video, artists could explore how visual culture shapes and defines Black identity.

The 20th century saw a large number of black women claiming a place behind the camera as a result of the Civil Rights and Feminist movements. Many of these women were raised both in western imperial powers and their colonies. Carrie Mae Weems, Lorna Simpson, Renee Cox, Adrian Pipers, and Maud Sulter, among others, have reframed oppressive representations throughout history with the use of the camera.The 20th century saw a large number of black women claiming a place behind the camera as a result of the Civil Rights and Feminist movements. Many of these women were raised both in western imperial powers and their colonies. Carrie Mae Weems, Lorna Simpson, Renee Cox, Adrian Piper, Maud Sulter and Ingrid Pollard, among others, have reframed oppressive representations throughout history with the use of the camera.

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Alberto Henschel, Black woman with child in Bahia, photography, 1870

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https://monovisions.com/alberto-henschel-biography-19th-century-portrait-photographer/

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Portraits of black men and black women in Pernambuco, circa 1870, Leibniz-Institut Für Länderkunde

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One of the pioneers of the photography industry in Brazil, he had several photography establishments across the country.

Photographs he produced include studio portraits, landscapes and ethnographic images, with an emphasis on portraits of Africans and Afro-descendants.

His studios possessed the latest equipment appropriate for the instantaneous portraits of children "who, never still, were the headaches of the photographers".

The new process referred to in the announcement was the use of dry slabs of transparent gelatin, used as an adhesive layer for the fixation of the silver salts over the paper.

He photographed all the different social classes of Brazil in the 19th century. Besides the Brazilian monarchy and black people, he also photographed the nobility, the rich tradesmen and their families, and the white middle-class.

Normally, black people were associated with domestic work, and their masters would take them to the studios for their family albums to represent them as normal slaves. In the "exotic" key, black people's photos were also sold as souvenirs to foreigners.

Image Source: https://commons.wikimedia.org/wiki/File:Alberto_Henschel_-_Pernambuco_4.jpg

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In the middle of the 19th century, the photographic camera is introduced to the world as an extension of white male dominance and patriarchy. The pose and gaze of enslaved black women were mimicked by Daguerrotypes, business cards, and photographs of enslaved women. As a result of these images, black women's bodies, specifically their bellies and breasts, were emphasized as having a significant impact on slavery.

An example of a recurring image in colonial family albums was the “faithful” wet nurse posing with the (white) child she cared for.

It is still unclear how white women used reproductive and maternal violence against their enslaved women. These posed images, which were once part of the family album of the slave master, remain visible and collectible today (digitally) on platforms such as Pinterest, online auctions, and flea markets.

It is a painful experience to look at these portraits of wet nurses. They rarely smile and their eyes are often glassy as if they are always crying. This kind of gaze symbolizes a life without choices. They are downcast and despondent, afraid and obedient, or sometimes even defiant.
Wet nurses often posed with their breasts exposed or nursing a child - either their own or the master's - which was one of the most unspeakable horrors. It was not only the photographs that made the black mother into a caricature, but also how they reinforced white (masculine) fantasies about her as a "Jezebel" or the "Mammy", governed by libido and carrying her master's child.

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Relations between the past and the Present

Understand why this injustice and prejudice happened

Why this discrimination against our race?

What it means to be black?

What it means to be a black woman?

Which kind of difficulties was on the past to be a black woman?

Which kind of difficulties still exists being a black woman?

What is the Black Experience?

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Brown, M. (2019) Yinka Shonibare's tribute to UK diversity acquired by Tate. The Guardian. [Online] 8 April. Available from: https://www.theguardian.com/artanddesign/2019/apr/08/yinka-shonibare-tribute-uk-diversity-acquired-tate-british-library-books. [Accessed 21 January 2022].

Jordan, R. (2021) A Brief History of Black British Art. London: Tate Publishing.

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Reflections on Yinka Shonibare's The British Library

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Reflections on Yinka Shonibare's The British Library

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It opens a conversation space for both participants who object to immigration and those who have made valuable contributions. This includes a study area with a tablet screen, adjacent to the bookshelves. This is where a participant/viewer can access the artwork's website, add their own stories and learn more about it.
The British Library uncovers the hidden presence of colonialism within a contemporary context of globalization, “bringing something from the market into Western art galleries”. (Jordan, 2021, p.128) With the incorporation of the African fabric, it emphasizes the ambiguities of colonialism and culture hybridity. Wax-resist fabrics have been brought into some African countries by the Dutch, having Indonesian traditions attached to them.

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- Figures float in space and interact with our imagery, making us wonder what they are doing or what they will do next.

- Create narratives based on literature or poems stereotypically representing black communities in the USA

- The black figures indicate the race and identity of these characters

- Many of her works are created from paper, because they are more easily mounted and moved around.

- Life-size figures that interact with one another to suggest a narrative that confronts the viewer. She often creates works that are site-specific, i.e. she creates a relationship between the work and the gallery or space in which it is exhibited. This work was first installed in the South of the USA, where black people suffered from prejudice and Jim Crow segregation laws.

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Joyce’s Front Room, 2021. Installation comprising found objects, home furnishings and wood. London: TATE Britain 

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Michael McMillan (1962) is a London based artist, playwright and scholar of Vincentian migrant heritage has made several versions of this specific installation.

Each of them is based on the migrant experiences and heritage of African-Caribbean families in the UK in the mid-20th century.

McMillan's installation is inspired by the front room of a politically active single woman from the 1970s.

Each of the objects, from doilies to wall hangings, has been chosen with a specific time and character in mind. These are supplemented by larger items, such as soft and large furnishings, furniture, fixtures, and appliances. These items speak to migration, religion, status, identity, as well as transitioning from the colonial to the postcolonial eras.

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Paragraphs on Conceptual Art – Sol LeWitt

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Paragraphs on Conceptual Art – Sol LeWitt

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"It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry (...)"

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One Chair and Three Chairs, 1965. Wood folding chair, mounted photograph of a chair, and photographic enlargement of the dictionary definition of “chair”. MoMA

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It is an installation that represents the "chair" in three different ways: a manufactured chair, a photograph, and a copy of a dictionary with the definition of he word "chair". The work is a assemblage composed by an object, an image and words.

He wanted to question ourselves about what we consider as "Art" or an "art object".  These open-ended questions are exactly what Kosuth wanted us to think about when he said that “art is making meaning.”
By assembling these three alternative representations, Kosuth turns a simple wooden chair into an object of debate and even consternation, a platform for exploring new meanings.

Chosing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our experience of art.

- what we see it is three representation of a chair, not a chair that we are allowed to sit
- Contextualize - it is not a simple object; placing a chair in a Museum/Gallery it becomes Art. It shows how the power and status of the institution comes from the Art, not how power and status of the Art comes from the institution.

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https://studiomuseum.org/article/silhouettes-relieved-kara-walkers-new-drawings

https://www.themodern.org/exhibition/kara-walker-my-complement-my-enemy-my-oppressor-my-love

https://www.artsy.net/article/artsy-editorial-tate-modern-picked-kara-walker-create-turbine-hall-commission

https://walkerart.org/collections/artists/kara-walker

https://www.mprnews.org/story/2007/02/20/karawalker

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1997. Cut paper on wall. Los Angeles: Hammer Museum.

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Slavery! Slavery! Presenting a GRAND and LIFELIKE Panoramic Journey into Picturesque Southern Slavery or 'Life at 'Ol' Virginny's Hole' (sketches from plantation life), 

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Slavery! Slavery! Presenting a GRAND and LIFELIKE Panoramic Journey into Picturesque Southern Slavery or 'Life at 'Ol' Virginny's Hole' (sketches from plantation life), 

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Having a narrative directly displayed through a wall, with simple silhouettes, gives viewers a better understanding of the story into which they are inserted and allows them to construct their own assumptions.
Her work is confrontational, and she does not supress herself from revealing certain things that may shock the audience.

She constantly changes the names of her artworks when inserted into a new exhibit, configuring the figures for a new interpretation and creating new scenarios.
The tragic legacy of slavery is exposed as a source of ongoing psychological harm in these scenarios that challenge conventional readings of a cohesive national history.

Through her work, viewers gain a critical and emotional understanding of the past and an examination of contemporary racial and gender stereotypes.
She depicts, often grotesquely, the life on the plantation before the Civil War, where masters, mistresses, slaves, women, and children enact a subverted past.
They draw from the folklore of the antebellum South of the USA and tackle taboo issues of gender and race with equal fearlessness.

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https://www.youtube.com/watch?v=v7_t1rnKD4w

https://comunidadeculturaearte.com/interferencias-prisma-e-naturezas-visuais-ocupam-o-maat/

https://bantumen.com/interferencias-culturas-urbanas-maat/

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The exhibition Interferences was held in Lisbon (Portugal) and addressed a variety of topics concerning the structure of the city and its cultural diversity.

"Interferences" aims to shed light on other aspects of the city by bringing together works by contemporary artists who use the streets as a place for expression and experimentation, bringing together artworks from both institutional and private collections, transforming the museum into a meeting place for different communities.

With alternative narratives that aim to question the public, the dynamic of this exhibition extends not only to the cultural diversity of the city, but also to the forgotten realities of the marginalized population that live on its margins.

Reflections:

- For me, it was important to visit this exhibition, which does not only feature many black artists and collectives, but also emphasises how many of these African communities live in Portugal with hopes for a better future.
- Art can also change how cities, urban spaces, and artistic and cultural institutions are built by focusing on a general public, with narratives that take it to identify with them. It makes me think about the cultural and social value of art.
- A major lesson I learned from this exhibition is the need for other types of voices and discourse, which aim to reveal discrimination and oppression, generating new debates for the improvement of society.
- History and memory are two concepts that intersect and being fundamental for the exploration and development in many of these artworks.
- The support of greater cultural diversity and artistic inclusion.
- A museum or gallery can serve as a space to explore timeless utopias and struggles, emerging tensions, and untold stories.