Mixed Race Studies

How Our February Cover Star Amandla Stenberg Learned to Love Her Blackness

Teen Vogue
2016-01-07

Solange Knowles

Edited by Elaine Welteroth

Photograph by Ben Toms

She tells all to Solange Knowles in our latest issue.

I have a confession to make: I didn’t prepare for my interview with Amandla Stenberg. Though we had never met, from the outside looking in, I recognized her so deeply that I didn’t think I’d need to. There’s a secret language shared among black girls who are destined to climb mountains and cross rivers in a world that tells us to belong to the valleys that surround us. You learn it very young, and although it has no words, you hear it clearly. You sense it when you walk into rooms with your hair in full bloom, each coil glorious, your sway swift and your stance proud. You feel it like a rhythm you can’t shake if you even dared to quiet the sounds

Our conversation quickly reveals that Amandla knows it all too well: “I think that as a black girl you grow up internalizing all these messages that say you shouldn’t accept your hair or your skin tone or your natural features, or that you shouldn’t have a voice, or that you aren’t smart,” she says. “I feel like the only way to fight that is to just be yourself on the most genuine level and to connect with other black girls who are awakening and realizing that they’ve been trying to conform.”…

Read the entire interview here.

Multiracial in a Monoracial World: Interaciality Informing Academic Work

University of Michigan Hatcher Graduate Library
Gallery (Room 100)
913 S University Ave
Ann Arbor, Michigan 48109
2015-10-26

Martha Jones, Prof. of History and Afroamerican & African Studies, co-director of the Michigan Law Program in Race, Law & History. Dr. Jones’ scholarly interests include the history of race, citizenship, slavery, and the rights of women in the United States and the Atlantic world.

Edward West, Thurnau Prof. of Art and Design. Professor West’s photographs and writing examine the lives and experiences of multiracial people around the world. His recent exhibit and publication, So Called, drew from his travels around the world photographing multiracial people.

Mark Kamimura-Jimenez, Director, Graduate Student Success, Rackham Graduate School, Lecturer, Oakland University. Dr. Kamimura-Jimenez’s research examines the college experience for multiracial students.

What Does it Mean to be Multiracial in a Monoracial World? Part of a year-long series of events that explore what it means to be multiracial in a monoracial world. This faculty panel includes: Martha Jones, Prof. of History and Afroamerican & African Studies, co-director of the Michigan Law Program in Race, Law & History. Dr. Jones’ scholarly interests include the history of race, citizenship, slavery, and the rights of women in the United States and the Atlantic world. Edward West, Thurnau Prof. of Art and Design. Professor West’s photographs and writing examine the lives and experiences of multiracial people around the world. His recent exhibit and publication, So Called, drew from his travels around the world photographing multiracial people. Mark Kamimura-Jimenez, Director, Graduate Student Success, Rackham Graduate School, Lecturer, Oakland University. Dr. Kamimura-Jimenez’s research examines the college experience for multiracial students.

Watch the entire video (01:34:22) here.

The Free State of Jones Movie to be released May 13, 2016

Renegade South: Histories of Unconventional Southerners
2016-01-05

Vikki Bynum, Distinguished Professor Emeritus of History
Texas State University, San Marcos

The Free State of Jones Movie poster

Victoria E. Bynum is author of the book The Free State of Jones, Movie Edition: Mississippi’s Longest Civil War from which the move is based.

From the Archives: Adrian Piper’s “Blacks, Whites and Other Mythic Beings”

Art in America
2015-05-29 (Orignially published November 2001)

Eleanor Heartney

Adrian Piper, the uncompromising Berlin-based American artist and philosopher whose work applies the rigorous strictures of conceptual art to questions of race and identity, was awarded a Golden Lion award at the 56th Venice Biennale earlier this month. Piper received the honor for her participation in “All the World’s Futures,” where she showed The Probable Trust Registry. The piece asks participants to pledge to live by one or more of the following tenets: “I will mean everything I say”; “I will do everything I say I will do”; and “I will always be too expensive to buy.”

In this A.i.A. article from the November 2001 issue, reproduced below, contributing editor Eleanor Heartney reflects on Piper’s tendency “to favor the confrontational over the conciliatory” on the occasion of several traveling retrospectives of her work.

Blacks, Whites and Other Mythic Beings

By Eleanor Heartney

Adrian Piper has long pursued twin careers in art and philosophy. In response to a traveling retrospective, the author ponders the artistic consequences—and seeming contradictions—of Piper’s analytical observations about race.

Does race exist? Henry Louis Gates, Jr., among others, believes not. Labeling race a biological myth, the Harvard scholar has added that from a social and political perspective, race is best understood as a metaphor for something else and not an essence or a thing in itself. [1]

Adrian Piper’s career has been, in one sense, an exploration of this theory. As a light-skinned black woman who, she points out in works like Colored (1988) and My Calling (Cards), 1986-90, could easily pass for white, Piper questions the validity of racial categorization and examines the prevalence of social stereotyping. If race cannot be defined by science or be determined by a person’s visual appearance, she asks, why does it continue to retain such a powerful hold on the human psyche? And what, if anything, can be done to expose its artificiality in a way that will destroy its power?

Many artists have explored the subject of race in recent years, but Piper has been conducting her inquiry from a rather uncommon position. For the last quarter century she has pursued parallel careers as a visual artist with an extensive international exhibition history and as a professor of philosophy, currently on the faculty of Wellesley College. If autobiography provided the starting point for her exploration of race and racism, philosophy has shaped the form of her inquiries. But in the process, the application of abstract philosophical principles to this seemingly intractable social problem produces certain contradictions which suggest that even Piper is not immune to the insidious fictions of race…

Read the entire article here.

Everyone’s Problem: Adrian Piper Tackles the Complexities of Race Relations Head-On

Artspace
2015-12-30

Artspace Editors

Adrian Piper receiving her Golden Lion from the 2015 Venice Biennale

The artist and philosopher Adrian Piper’s direct and subtly intellectual approach to unpacking the tangled issues of race, gender, identity, and belonging has inspired a generation of socially-conscious artists across all media, although her impact is just now being fully recognized: she was the recipient of the Golden Lion for best artist at this year’s Venice Biennale, and MoMA has recently announced plans for, in the words of Robin Pogrebin in the New York Times, “the most comprehensive exhibition to date on the conceptual artist,” set to open in 2018. In this excerpt from Phaidon’s Defining Contemporary Art, the curator Connie Butler responds to one of Piper’s most important video and installation works, Cornered from 1988.

Adrian Piper’s conceptual explorations of race and difference have made her a critical influence on subsequent generations of artists exploring race and the construction of identity. By 1988—after two decades in which she moved from a relatively traditional conceptual art practice to using her own body in her work, and to locating her subject matter in the fluidity of identity—she had begun to explore her own struggles with racial identity: namely, people’s assumptions about her race and their corresponding behavior towards her.

The pivotal video installation Cornered addresses this in the straightforward, analytical fashion common to all of Piper’s work. Viewers encounter the artist herself, a light-skinned black woman, looking out at them from a monitor placed in the corner of a room. On either side of it hang her father’s two birth certificates—one that identifies him as white, the other as black. A large table upended in front of the monitor distances us from all this, keeping Piper at a remove in space. Despite this, the artist faces us calmly and begins matter-of-factly. “I’m black. Now, let’s deal with this social fact, and the fact of my stating it, together. Maybe you don’t see why we have to deal with it together. Maybe you think this is just my problem, and that I should deal with it by myself. But it’s not just my problem. It’s our problem.”…

Read the entire article here.

Exhibit by Penn cultural anthropologist showcases Afro-Latinos in Philadelphia

Penn Current: News, ideas and conversations from the University of Pennsylvania
2015-12-10

Jacquie Posey

Free and enslaved Africans shaped and built Latin America and the Spanish-speaking Caribbean. Their descendants, known as Afro-Latinos, are featured in a new photo exhibition by cultural anthropologist Sandra Andino, associate director of the Latin American and Latino Studies Program at Penn.

“Afro-Latino in Philadelphia: Stories from El Barrio,” which opened on Dec. 4 at Taller Puertorriqueño, a community-based multidisciplinary arts organization in North Philadelphia, explores the intersection of African heritage and Latino identity.

Visitors can view the photographs and listen to an audio tour of the exhibit on their smartphone by scanning a designated QR code or going to the artist’s website and clicking the audio tour link…

Read the entire article here.

One Drop of Love 2015

Fanshen Cox DiGiovanni
2015-12-30

Love & Gratitude to all who contributed to making 2015 an amazing year for One Drop of Love!

One Drop of Love is a multimedia one-woman show exploring the intersections of race, class, gender, justice and LOVE.

For more information, click here.

‘True Detective’ Helmer Cary Fukunaga Teams With John Legend For Pulitzer Winner ‘The Black Count’

Deadline Hollywood
2014-04-28

Dominic Patten

EXCLUSIVE: On fire since the success of HBO‘s True Detective this year, director Cary Fukunaga has lined up his next project I’ve learned. Teaming with John Legend and his Get Lifted Film Co. partner Mike Jackson, Fukunaga will adapt and helm a big-screen version of The Black Count: Glory, Revolution, Betrayal, And The Real Count of Monte Cristo for Sony. Get Lifted have optioned the Pulitzer-winning 2012 biography written by Tom Reiss that chronicles the life and adventures of French Revolution-era General Thomas-Alexandre Dumas…

Read the entire article here.

The many faces of Frederick Douglass

Democrat and Chronicle
Rochester, New York
2015-12-25

Jim Memmott, Adjunct Assistant Professor of English
University of Rochester, Rochester, New York

Portrait of Frederick Douglass taken November 3, 1882 by John Howe Kent, 24 State Street, Rochester, New York (Photo: Courtesy of the Department of Rare Books, Special Collections and Preservation, University of Rochester River Campus Libraries)

In November 1882, Frederick Douglass, escaped slave, orator, abolitionist, writer, lecturer, was back in Rochester, the city where he had lived for nearly 30 years, to give a talk.

Not surprisingly, he found time to visit the studio of Rochester photographer John Howe Kent to pose for a portrait.

The photograph, which is among the collection of the University of Rochester, shows a white-haired, bearded and contemplative Douglass. He looks away from the camera, his brow furrowed, his eyes on a distant prize.

According to the authors of a rich and rewarding book, the recently published Picturing Frederick Douglass, Kent’s picture became a lasting image of Douglass. It was used as the illustration facing the title page of the last edition of Douglass’s autobiography. And it was reproduced again and again on monuments, on a postage stamp and in drawings.

As the subtitle of Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century’s Most Photographed American makes clear, the Rochester picture is just one of many of Douglass taken during a time when photography was coming of age.

The authors of the book, John Stauffer, Zoe Trodd and Celeste-Marie Bernier, have identified 160 separate photographs of Douglass, a handful taken in Rochester, and all republished in the book.

Read the entire article here.

When a master class with ballerina Misty Copeland becomes a San Pedro homecoming

The Los Angeles Times
2015-12-23

Deborah Vankin, Contact Reporter

Ascendant ballerina Misty Copeland leads a master class during Monday’s celebration in San Pedro. (Christina House/For The Times)

The crowd of about 200 huddled in the parking lot of San Pedro City Ballet, ensconced in fog and drizzle. Restless and excited, they might have been awaiting the arrival of a rock legend. Some rubbed their palms together to keep warm on the chilly Monday afternoon; others stretched their necks, peering down Pacific Avenue in anticipation. Neighbors crouched on the roof of a small bungalow next door to get a glimpse of the action.

When at last a gray SUV rolled up, smartphones and tablets shot into the air and the chanting began: “Misty, Misty, Misty.”

San Pedro’s ballet prodigy was home.

A populist ballerina if ever there was one, Misty Copeland has become a pioneering hero not just to dance hopefuls but to a generation of young women looking for inspiring, boundary-breaking athletic and artistic role models. Earlier this year, the American Ballet Theatre soloist was promoted to principal dancer; she is the New York company’s first African American woman to hold that title. And she was the first African American woman to dance the lead in an ABT “Swan Lake” production. It’s partly why Copeland landed on the cover of Time magazine’s “100 Most Influential People” issue this spring…

Read the entire article here.