Barbara Earl Thomas's new body of work carries within it the
sediments of history and grapples with race and the color line. At
the heart of it lies a story of life and death, hope and
resilience-a child's survival. With her quietly glowing portraits
of young Black boys and girls, Thomas puts before us the humble
question: can we see, and be present to, the humanity, the trust,
the hopes and dreams of each of these children? The Geography of
Innocence offers a reexamination of Black portraiture and the
preconceived dichotomies of innocence and guilt and sin and
redemption, and the ways in which these notions are assigned and
distorted along cultural and racial lines. Two interconnected
visual arguments unfold: a portrait gallery of children from the
artist's extended community and an illuminated environment that
appears like a delicate paper lantern. To accompany the visual
elements, the book's essays examine Thomas's work in the context of
different art historical portraiture traditions and political
relevance. Thomas also contributes an interview and an essay
reflecting on the current climate in which the work exists.
General
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