Mixed Race Studies

The Body Beautiful: A film by Ngozi Onwurah

Women Make Movies
England, 1991
23 minutes
Color, VHS/16mm/DVD
Order No. W99229

Melbourne Film Festival, Best Documentary

This bold, stunning exploration of a white mother who undergoes a radical mastectomy and her Black daughter who embarks on a modeling career reveals the profound effects of body image and the strain of racial and sexual identity on their charged, intensely loving bond. At the heart of Onwurah’s brave excursion into her mother’s scorned sexuality is a provocative interweaving of memory and fantasy. The filmmaker plumbs the depths of maternal strength and daughterly devotion in an unforgettable tribute starring her real-life mother, Madge Onwurah.

The Graffitist Who Moved Indoors

The New York Times
2013-03-28

Carol Kino

SAN FRANCISCO — “This is one of my favorite things to do,” Barry McGee said as he drove along the Bayshore Freeway on a glowering winter day, pointing out random patches of new graffiti. He was supposed to be talking about his traveling midcareer retrospective, which opens Saturday at the Institute of Contemporary Art in Boston. Instead, he was revisiting some of the places where he’d spent time in the late 1980s and early ’90s, as he rose to prominence as the graffiti artist known as Twist.

“That was the key, to have every rooftop in San Francisco,” Mr. McGee reminisced as he took an off-ramp down toward the industrial reaches of the Mission District, one of many places where he and his crew once tagged the road, safety barriers and every visible roof below. “It seems completely ridiculous now,” he said, laughing, “but then it was the most important thing.”

Since those days, the whole South of Market area, once known for its seediness, has been redeveloped, gentrified. Mr. McGee had to drive past several blocks of trendy loft buildings before finding a slice of ruined waterfront that resembled the streets he once roamed. He finally stopped at a crumbling warehouse by the bay…

…But perhaps the person with the biggest expectations is Mr. McGee himself.

He grew up in South San Francisco, the child of a Chinese-American secretary and an Irish-American father who worked in auto body shops and collected junked hot rods. As a teenager, he was fascinated by the anarchic tactics of the Bay Area’s activist groups, some of which were spray-painting anti-government slogans on banks and underpasses. (Unsurprisingly, one of his favorite words is “radical.”)

A friend introduced him to graffiti and Mr. McGee, who had “always drawn,” said his creative life took off. “It was really empowering,” he said. “I really thought I was doing art on the street.”…

Read the entire article here. View the slide show here.

One Drop of Love: A Multimedia Solo Performance on Racial Identity by Fanshen Cox DiGiovanni at University of Maryland

University of Maryland, College Park
The Stamp (Adele H. Stamp Student Union) [Directions]
Atrium Room
Friday, 2013-03-29, 17:00-19:30 EDT (Local Time)

Sponsored by the Multiracial Biracial Student Association (MBSA), Office of Multicultural Involvement and Community Advocacy (MICA), The Asian American Literary Review, University of Maryland Asian American Studies Program, and Hamsa.

Fanshen Cox DiGiovanni, Playwright, Producer, Actress, Educator

Jillian Pagan, Director

Q&A afterwards hosted by:

Steven F. Riley, Founder and Creator
www.MixedRaceStudies.org

One Drop of Love is a solo performance piece that journeys from Boston, Michigan, Los Angeles, and East & West Africa from 1790 to the present as a culturally Mixed woman explores the influence of the One Drop Rule on her family and society.

Fanshen Cox DiGiovanni. ©2103, Evan Tamayo

Fanshen Cox DiGiovanni is a leading activist concerning mixed race, and is an actor, comedian, producer and educator. One Drop of Love is her MFA thesis, and she will be using footage from her performances to make a documentary.

Admission is free.

Fanshen Cox DiGiovanni and Steven F. Riley. ©2012, Laura Kina

Ms. Cox DiGiovanni appeared in the 2013 Academy Award and Golden Globe winning film Argo (2012); co-created, co-produced and co-hosted the award-winning weekly podcast Mixed Chicks Chat (2007-2012); and co-founded and produced the annual Mixed Roots Film & Literary Festival^® (2008-20012). For more on Ms. Cox DiGiovanni and One Drop of Love, visit: http://www.onedropoflove.org.

Author/artist Kip Fulbeck on campus April 3

Skidmore College
Saratoga Springs, New York
2013-03-28

“Who Are You?” a presentation on diversity and identity by artist/author/filmmaker Kip Fulbeck, is scheduled at 7 p.m. Wednesday, April 3, at Skidmore College.

Free and open to the public, the event will be in Gannett Auditorium, Palamountain Hall. A book signing will follow the presentation.

Known for creating work that is an insightful, wry, and an often-acidic commentary on race, identity, and popular culture, Fulbeck uses his own multiracial background as a springboard to explore ethnic stereotypes and opinions on cultural identity…

For more information, click here.

Talkin’ Race with Laura and Wei Ming

The Magic Mulatto: Bringing the fine art of Race Talk straight to the people
2013-03-26

Brett Russell Coleman, Doctoral Student of Community & Prevention Research
University of Illinois, Chicago

“In 1969, we weren’t at war with China.”

If that sentence leaves you perplexed in any way, you need to do two things. First listen to the audio of the conversation I had with Laura Kina and Wei Ming Dariotis…

…The second thing you need to do is check out their project, War Baby / Love Child: Mixed Race Asian American Art, which investigates constructions of mixed heritage Asian American identity in the United States. This is a “multi-platform project (book, traveling art exhibition, website and blog) that examines how, or even if, mixed heritage Asian Americans address hybrid identities in their artwork, as well as how perspectives from critical mixed race studies illuminate intersections of racialization, war and imperialism, gender and sexuality, and citizenship and nationality.”…

Read the article and listen to the interview here.

Indigo: Shelly Jyoti and Laura Kina

Curated by Greg Lunceford and Lanny Silverman
2013-01-26 through 2013-04-27

Opening Reception: Friday, 2013-01-25, 17:30-19:30 CST (Local Time)
Chicago Cultural Center
The Chicago Rooms
78 E. Washington Street
Chicago, Illinois 60638

Shelly Jyoti, Visual Artist, Fashion Designer, Poet, Researcher and Independent Curator

Laura Kina, Associate Professor Art, Media and Design
DePaul University

Employing fair trade artisans from women’s collectives in India and executing their works in indigo blue, Indian artist Shelly Jyoti and US artist Laura Kina’s works draw upon India’s history, narratives of immigration and transnational economic interchanges.

Artist talk with Shelly Jyoti, Laura Kina, and Pushipika Frietas, President of MarketPlace: Handwork of India
The Chicago Rooms
Thursday, 2013-01-31 12:15 CST (Local Time)

• View the exhibition catalog online.
• Download a PDF of the brochure Indigo: Shelly Jyoti and Laura Kina Chicago Cultural Center.
• Watch the 2010 video on youtube Indigo: New works by Shelly Jyoti and Laura Kina.
• View opening night and installation photographs.

Picturing Black New Orleans: A Creole Photographer’s View of the Early Twentieth Century

University Press of Florida
2012-09-02
152 pages
7×10
Cloth ISBN 13: 978-0-8130-4187-2

Arthé A. Anthony, Professor of American Studies, Emeritus
Occidental College, Los Angeles, California

Florestine Perrault Collins (1895-1988) lived a fascinating and singular life. She came from a Creole family that had known privileges before the Civil War, privileges that largely disappeared in the Jim Crow South. She learned photographic techniques while passing for white. She opened her first studio in her home, and later moved her business to New Orleans’s black business district. Fiercely independent, she ignored convention by moving out of her parents’ house before marriage and, later, by divorcing her first husband.

Between 1920 and 1949, Collins documented African American life, capturing images of graduations, communions, and recitals, and allowing her subjects to help craft their images. She supported herself and her family throughout the Great Depression and in the process created an enduring pictorial record of her particular time and place. Collins left behind a visual legacy that taps into the social and cultural history of New Orleans and the South.

It is this legacy that Arthé Anthony, Collins’s great-niece, explores in Picturing Black New Orleans. Anthony blends Collins’s story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans. Balancing art, social theory, and history and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony gives us a rich look at the cultural landscape of New Orleans nearly a century ago.

A Unique Slant of Light: The Bicentennial History of Art in Louisiana

University Press of Mississippi
2012-09-20
450 pages
9 1/2 x 11 7/8 inches,
400+ color illustrations, foreword, introduction, bibliography, index of artists
Cloth ISBN: 978-1-61703-690-3
 
Edited By:

Michael Sartisky, President
Louisiana Endowment for the Humanities

J. Richard Gruber, Director Emeritus
Ogden Museum of Southern Art

Associate Editor:

John R. Kemp, Former Deputy Director
Louisiana Endowment for the Humanities

A lushly illustrated celebration of two centuries of creative work from Louisiana

A Unique Slant of Light: The Bicentennial History of Art in Louisiana is a handsome, unprecedented, commemorative hardcover edition limited to approximately 3,000 copies. This large-format volume encompasses 450 color pages featuring approximately 275 artists and photographers. For art collectors and enthusiasts, for followers of Louisiana history, and for keepers of Louisiana pride, this dazzling book is testimony to the state’s vibrant artistic culture.

Coeditors are Michael Sartisky, PhD, president of the Louisiana Endowment for the Humanities, and J. Richard Gruber, PhD, director emeritus of the Ogden Museum of Southern Art; John R. Kemp, former deputy director of the LEH, is serving as associate editor. Written by scholars from around the country, the entries include all genres (painting, sculpture, photography, folk art, decorative art, furniture) and periods, from colonial to contemporary. Private collections and major archives such as the Ogden Museum of Southern Art, the Louisiana State Museum, the Historic New Orleans Collection, and the Louisiana State University Museum of Art, among others, contribute a comprehensive library of images.

Every entry in the book will be linked to fully articulated entries on each artist and genre in KnowLA: The Digital Encyclopedia of Louisiana History and Culture,which also will have the capacity to include a much more extensive image gallery for each artist and genre.

View A Unique Slant of Light in digital format here.

‘We have a race problem in England’

The Voice
London, England
2013-03-06

Hazelann Williams

Arinze Kene says he does not do politics. But for anyone who has seen one of Kene’s plays, it may sound like an unusual statement because the prolific playwright has written many plays about the state of society, ranging from life on a housing estate to African perceptions on Christianity. Yet, Kene says his plays are not political, they are humanistic.

“I’m not a political person, my plays always cover issues that people may say are political, but I’m tackling issues from the human perspective, from where it affects people personally. I can’t shun politics because I live on planet Earth but when I can I try to avoid it, because I don’t understand it. It gets me worked up and gets me stressed out and stress is the enemy,” confessed the 25-year-old.

In his latest play, God’s Property, Kene takes the audience back in time to the restless streets of Deptford, south London in the early 1980s, as estranged mixed race brothers Chima (Kinsley Ben-Adir) and Onochie (Ash Hunter) are unexpectedly reunited.

Not only covering the spiraling youth unemployment, inner city riots and economic downturn of the Eighties, the writer also is exploring the very divisive issue of race and where mixed race people stand in society. And although the Little Baby Jesus author tried to stay away from the political aspect of race he had to admit that, like 30 years ago, the UK still has a racial problem…

…“I know that some mixed raced people feel black, some feel mixed race and I thought I would explore that. It is still relevant, I don’t think discussing race is overdone, if you looked at the amount of time Great Expectations has been done and re-done, I don’t get bored of a good story and I don’t think this issue has been explored anywhere near enough as most. I think I am tapping into something that has not been explored enough,” said Kene…

Read the entire article here.

Laylah Ali: The Greenheads Series

Weisman Art Museum
University of Minnesota
333 East River Road
Minneapolis, Minnesota 55455
(612) 625-9494
2013-02-16 through 2013-05-12

Laylah Ali, Associate Professor of Art
Williams College, Williamstown, Massachusetts

Join us for a talk with Laylah Ali on March 7, 2013.

WAM is pleased to present Laylah Ali: The Greenheads Series. This is the first time the Greenheads series, created between 1996 and 2005, is being shown as a comprehensive body of work. Forty-three of the exquisitely rendered gouache paintings—from a total of more than eighty—have been gathered from collections here and abroad to chronicle the series’ development.

The figures inhabiting Ali’s works—the Greenheads—are enigmatic, round-headed beings of indeterminate sex and race who inhabit a regimented, dystopian world where odd and menacing, though sometimes strangely humorous, encounters prevail.

This exhibition will allow viewers to examine the evolution of Ali’s series. While the early paintings frequently focus on physically aggressive exchanges between groups of figures, these interactions are later replaced by individuals—alone or in small groups—who witness the prelude to, or aftermath of, a charged encounter. As the series continues, more and more of the figures’ anatomy is pruned away, as if the artist is examining how much can be taken out—such as arms, feet, skin color—while still communicating thought, emotion, and social status.

This exhibition was organized by the Williams College Museum of Art, Williamstown, Massachusetts. It is co-sponsored by the University of Minnesota Department of Art…

For more information, click here.