Photography

Black Chronicles II at Spelman College Museum of Fine Art

Unidentified Sitter. Edinburgh, c. 1900. Photographer/Studio: Alex Ayton Junior. Carte-de-visite, 64 x 100 mm. Courtesy of Val Wilmer Collection.

Born on the Danish island colony of Saint Croix with two generations of slaves behind him, the champion heavyweight boxer Peter Jackson cuts a lean and noble figure in his 1889 photographic portrait, his top hat perched level upon his head, his elegant Victorian garments pressed, his stylish accoutrements placed as evidence of his social persona as a gentleman–dandy. The portrait was taken just a[…..]

Fan Mail: Rachel Granofsky

Rachel Granofsky. Ghost Sex, 2014; pigment print; 42 x 56 in. Courtesy of the Artist.

Rachel Granofsky’s approach to photography is akin to puzzle making, a balancing act between meticulously connecting individual parts while holding an unwavering attention to the whole. She creates her photographs at her Bushwick studio, which is set up as a miniature stage for building life-size installations. Granofsky constructs, frames, and captures; this labor-intensive process is her way of subverting the immediacy of digital photography. In[…..]

Deana Lawson & Henry Lawson

Henry Taylor. 
Where Thoughts Provoke, Getting Deep In Shallow Water, 2015; acrylic on canvas; 36 × 36 inches. Courtesy of the Artist and Blum & Poe, Los Angeles/New York/Tokyo.

Today from our friends at BOMB Magazine, we bring you a conversation between artists Deana Lawson and Henry Lawson. They speak about the commonalities of their practices, their travels, and the importance of color in their work. Lawson says of her photographs, “I often think of Carrie Mae Weems’s titles in the Colored People series, in which she names the nuances of black and brown bodies[…..]

From the Archives – Malick Sidibé

Malick Sidibé. Untitled, 1969/2004; silver gelatin print, hand-painted wooden frame. Courtesy of the Artist and Jack Shainman Gallery.

This week at Daily Serving we’re remembering the life and work of photographer Malick Sidibé (1935–2016), whose studio portraiture and candid images of nightlife in Mali during the 1960s and ’70s recorded a powerful time for the recently liberated country. As author Lia Wilson comments in her 2014 review, Sidibé’s photographs “chronicle a flourishing of human hope, ambition, and newfound opportunity” while remaining timeless. This article[…..]

From the Archives – Wynne Neilly: Female to “Male” at Ryerson Image Centre

Wynne Neilly. January 24th 2014-24th Shot, 2014; Fuji Instax Film; 4 ¼ x 3 ¼ in. Courtesy of the Artist and Ryerson Image Centre. Photo: Wynne Neilly.

Although International Transgender Day of Visibility was over a week ago (March 31), the need to show support for the transgender community only increases in urgency with the recent passing of anti-LGBTQ laws in North Carolina and Mississippi. Today at Daily Serving we’re thinking about the importance of amplifying trans narratives, including visual stories of personal experiences. As Shauna Jean Doherty shares in this Shotgun Review of[…..]

Shiny Happy People: Interview with Reem Al Faisal

Reem Al Faisal. Zaheera.

From our friends at REORIENT, today we bring you an interview with the Saudi photographer, gallery owner, journalist, and princess Reem Al Faisal. Author Joobin Bekhrad talks with Faisal about her most recent solo exhibition, Nass [People], color, and being a woman photographer in “a man’s world.” This piece was originally published on March 1, 2016. It’s early in the morning, and, amidst news of escalating tensions between Iran[…..]

Question Bridge: Black Males in America

Question Bridge: Black Males in America (Aperture/Campaign for Black Male Achievement, 2015)

Today we bring you an excerpt from Art Practical’s Printed Matters column. Roula Seikaly reviews Question Bridge: Black Males in America, the published companion to a project, platform, and installation that regards identity and representation. Seikaly notes, “Asking a question […] can be difficult; it can imply lack of knowledge and experience, rendering the asker vulnerable. No one wants to be caught out, least of all when the questions address identity, community, and most urgently,[…..]