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As We Rise presents an exciting compilation of photographs from
African diasporic culture. With over one hundred works by Black
artists from Canada, the Caribbean, Great Britain, the United
States, South America, as well as throughout the African continent,
this volume provides a timely exploration of Black identity on both
sides of the Atlantic. As Teju Cole describes in his preface, "Too
often in the larger culture, we see images of Black people in
attitudes of despair, pain, or brutal isolation. As We Rise gently
refuses that. It is not that people are always in an attitude of
celebration-no, that would be a reverse but corresponding
falsehood-but rather that they are present as human beings,
credible, fully engaged in their world." Drawn from Dr. Kenneth
Montague's Wedge Collection in Toronto-a Black-owned collection
dedicated to artists of African descent-As We Rise looks at the
multifaceted ideas of Black life through the lenses of community,
identity, and power. Artists such as Stan Douglas, LaToya Ruby
Frazier, Barkley L. Hendricks, Texas Isaiah, Liz Johnson Artur,
Seydou Keita, Deana Lawson, Jamel Shabazz, and Carrie Mae Weems,
touch on themes of agency, beauty, joy, belonging, subjectivity,
and self-representation. Writings by Isolde Brielmaier,
Ugochukwu-Smooth C. Nzewi, Mark Sealy, Teka Selman, and Deborah
Willis among others provide insight and commentary on this
monumental collection.
This book examines how Western photographic practice has been used
as a tool for creating Eurocentric and violent visual regimes, and
demands that we recognise and disrupt the ingrained racist
ideologies that have tainted photography since its inception in
1839. Decolonising the Camera trains Mark Sealy's sharp critical
eye on the racial politics at work within photography, in the
context of heated discussions around race and representation, the
legacies of colonialism, and the importance of decolonising the
university. Sealy analyses a series of images within and against
the violent political reality of Western imperialism, and aims to
extract new meanings and develop new ways of seeing that bring the
Other into focus. The book demonstrates that if we do not recognise
the historical and political conjunctures of racial politics at
work within photography, and their effects on those that have been
culturally erased, made invisible or less than human by such
images, then we remain hemmed within established orthodoxies of
colonial thought concerning the racialised body, the subaltern and
the politics of human recognition. With detailed analyses of
photographs - included in an insert - by Alice Seeley Harris, Joy
Gregory, Rotimi Fani-Kayode and others, and spanning more than 100
years of photographic history, Decolonising the Camera contains
vital visual and written material for readers interested in
photography, race, human rights and the effects of colonial
violence.
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Rock Against Racism (Hardcover)
Syd Shelton; Preface by Carol Tulloch; Introduction by Mark Sealy; Afterword by Red Saunders; Contributions by Paul Gilroy, …
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R1,091
Discovery Miles 10 910
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Ships in 12 - 17 working days
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An outstanding photography book documenting a movement that rocked
the world. Syd Shelton: Rock Against Racism is a body of
photographs that Syd Shelton produced for and about the British
Rock Against Racism movement (RAR) of 1976-1981. For Shelton, this
work was a socialist act, what he calls a "graphic argument," on
behalf of marginalized lives. His practice of photographic activism
began in 1973 when he was driven to document the socio cultural and
political dynamics expressed on the streets of Sydney by urban
Australian Aboriginal communities, the working class, and the
architectural landscapes of these groups. Shelton's first solo show
in 1975, "Working Class Heroes" at the Sydney Film-makers
Cooperative, established his distinct activist eye. Shelton joined
RAR in early 1977 on his return to England from Australia. He did
so because he found his birthplace a more racist country than it
had been when he left. This was marked by the increased political
presence of the National Front, notably its gain of some 119,000
votes in the Greater London Council Elections of May 1977. Shelton,
like millions of others, feared for the future of multi-cultural
Britain. His contribution to RAR was to be on the London committee,
to create graphic material with other RAR members such as the RAR
publication "Temporary Hoarding," posters' badges and his
photography-RAR did not have an official photographer. Shelton's
instinctive need to document RAR-its events, contributors, and
supporters-has resulted in the largest collection of images on the
movement. Alongside his documentation of RAR, Shelton took
photographs of what he calls "the contextual images," the lives and
landscapes that were defined by others as "different," and that
often fueled racist acts of violence by simply being. What is
presented here are Shelton's authoritative visual statements as
participant-photographer on the social tempo in Britain at this
time and the activist potency of RAR. As collective activism, RAR's
success was dependent on individual contributions to fuel the
movement's activities across the country. This unique national, and
eventually international, charge incorporated the visual dynamic of
how Black and white RAR contributors and participants styled their
bodies as another antagonistic tool against racism. These were acts
of style activism-the making of an activist identity through the
considered composition of clothes, accessories, hairstyles, makeup,
and body language. Shelton's images prompt us to remember that the
individuals at RAR carnivals, gigs, and demonstrations were the
event-they were RAR. There are many versions of what RAR was and
its legacy. Syd Shelton: Rock Against Racism provides an
auto/biographical telling of that historical moment. It reflects on
how Shelton's work as a photographer contributed towards social
change at a critical moment of political and racial tension in
Britain.
"An inspiring makeshift ingenuity....These mirror images with their
uncanny resemblances traverse space and time, spotlighting the
black lives that have been silenced by the canon of western art,
while also inviting us to interrogate the present." -Times (UK)
Since the beginning of the COVID-19 pandemic, Peter Brathwaite has
thoughtfully researched and reimagined more than one hundred
artworks featuring portraits of Black sitters-all posted to social
media with the caption "Rediscovering #blackportraiture through
#gettymuseumchallenge." Rediscovering Black Portraiture collects
more than fifty of Brathwaite's most intriguing re-creations.
Introduced by Brathwaite and framed by contributions from experts
in art history and visual culture, this fascinating book offers a
nuanced look at the complexities and challenges of building
identity within the African diaspora and how such forces have
informed Black portraits over time. Artworks featured include The
Adoration of the Magi by Georges Trubert, Portrait of an Unknown
Man by Jan Mostaert, Rice n Peas by Sonia Boyce, and many more.
This volume also invites readers behind the scenes, offering a
glimpse of the elegant artifice of Brathwaite's props, setup, and
process. An urgent and compelling exploration of embodiment,
representation, and agency, Rediscovering Black Portraiture serves
to remind us that Black subjects have been portrayed in art for
nearly a millennium and that their stories demand to be told.
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Hotel Afrique (Hardcover)
Mark Sealy, Stuart Franklin
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R536
R485
Discovery Miles 4 850
Save R51 (10%)
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Ships in 12 - 17 working days
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The elite hotels of Africa serve as an interface between the
tribal, religious, social and cultural aspects of Africa and the
global uniformity of international business culture. They are also
the places where the unseen resources of many African countries -
oil, diamonds, minerals - are bartered away behind closed doors.
These are environments which have a strangely hybrid quality -
their design, their cuisine, musak and global TV echoing
'international' standards. Yet they are ultimately sites of
tension, where cultures collide and conflict. At the same time,
however, these hotels are viewed by their local communities as
symbols of achievement which contradict the more usual
representations of Africa.Far from being despised as enclaves of
the rich, these hotels have become 'objects of desire', the dream
venue for weddings and where to be invited to a business conference
is to have reached the pinnacle of success. And for most hotel
employees there is the reassurance of wages that are higher than
they could earn elsewhere and therefore their duties are carried
out with pride and self-assurance.
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