Mixed Race Studies

Why I Created #ObamaAndKids

Medium
2016-02-21

Michael Skolnik

(Pete Souza/White House)

THURSDAY, February 18, 2016. The White House. Washington, DC. President Barack Obama was about to enter the room, when I noticed a young boy standing next to me, dressed in a jacket and tie, looking to get to the front of the crowd. This would be the last Black History Month celebration at The White House during the presidency of the first African-American in the history of The United States to hold the highest office in the land. When I asked the young boy if he needed help, he turned to me, and with a smile, he kept it moving, with his mother behind him, he led her around the various adults in his way, ultimately disappearing into the crowd in front.

Historical, this event would become. Not because of any major announcement the President or The First Lady would make from the podium, but because of a photo of that young boy, dressed in a jacket and tie, that would capture the attention of the world. They ultimately got to the front, standing against the rope that separated, by only a few feet, the audience from Barack and Michelle.

When the President finished his speech, he came down to the rope-line to greet the invited guests, and eventually arrived at the feet of the young boy. The President reached out to touch the boy’s face, and the remarkable White House photographer Pete Souza, did what he does best; snapped another iconic photograph of President Obama and a child who innocently knows nothing of the importance of that moment…

Read the entire article here.

Photo Series Celebrates The ‘Black Girl Power’ Of Brazilian Women

The Huffington Post
2016-03-02

Zeba Blay, Voices Culture Writer

It highlights women who are Afro-Brazilian and proud.

For the past two years, Brazilian journalist Weudson Ribeiro has been documenting the beauty of Afro-Brazilian women by photographing spontaneous portraits of them in an ongoing project. The result was released this month in a photo essay called “Superafro: O poder da mulher negra” or “Superafro: BLACK GIRL POWER.”

The project, which features candid portraits of black women from Brazil, seeks to highlight women who proudly stand in their own blackness as a political statement.

Ribeiro, a 24-year-old journalist and political scientist based in Brasília, has been taking photos for nearly a decade. He is the only son of mixed-race parents, and says that for a long time he struggled with “understanding and accepting my own blackness.”

“It’s a problem that affects the vast majority of Brazilians as a result of our highly mixed ethnic backgrounds,” Ribeiro told The Huffington Post…

Read the entire article here.

‘Blaxicans’ photos explore Angelenos straddling two worlds

Cable News Network (CNN)
2016-03-01

Emanuella Grinberg, Writer/Producer CNN Digital

Blaxicans of L.A. is an Instagram account that grew into a show at Los Angeles’ Avenue 50 Studio during Black History Month. The exhibit includes portraits with captions detailing personal histories and experiences with colorism and self-identity. Ken and Alejandra, pictured here, say they tell their daughter she is black and Mexican. “We will explicitly teach her to be proud of the fact that she is Mexican and to be proud of the fact that she is black,” Alejandra said.

Los Angeles (CNN)—As the biggest names in entertainment converged Sunday on the Oscars red carpet at the Dolby Theatre in Hollywood, about 10 miles to the east, artists, academics and community leaders gathered in Los Angeles’ historically Chicano community for a different sort of cultural event.

“Duality: Blaxicans of L.A.” is a photo exhibit that explores multiracial identity among the city’s two largest minority groups. The show is a Humans of New York-esque portrait series of Angelenos of African and Latino backgrounds accompanied by captions detailing family history, experiences with colorism and self-identity.

The exhibit grew from an Instagram account of the same name started by Walter Thompson-Hernandez, who has a Mexican mother and an African-American father. He launched Blaxicans of L.A. while researching the topic as a graduate student at Stanford University’s Center for Latin American Studies in response to what he saw as a gap in multiracial studies.

“Most multiracial scholarship has been on the black and white binary. I felt it didn’t cover the range of ways that multiracial people identify,” he said…

Read the entire article here.

#LookingForMezclas

Hugo Amsellem
Cali, Colombia
2016-02-11

Exploring the challenges of mingling identities with photos & stories of cool people I meet around the streets of the cities that I visit during my year-long travel…

For more information, click here.

This photo of Obama and a little visitor at a Black History Month celebration is remarkable

The Washington Post
2016-02-20

Janell Ross

Clark Reynolds, 3, is greeted by President Obama during a Black History Month Celebration held Feb.18, 2016, at the White House in Washington, D.C. (Pete Souza/White House)

For 3-year-old Clark Reynolds, Thursday began like most others.

Morning preparations gave way to hours at school and then a visit to his mother’s office to change into a suit and tie. Clark’s mother, Nichole Francis Reynolds, is a former congressional staffer who now works in the private sector. Friends had secured an invitation for Francis Reynolds and her son to the White House’s Black History Month celebration, the final gathering of its kind while the first black president remains in office. But Francis Reynolds had told Clark only that he had earned a special treat. He is, after all, only 3.

What Clark does know is the president’s name, his face when he sees Obama on TV and the sound of President Obama’s voice when it comes through the satellite radio in his dad’s car. Then, there’s Clark’s favorite book, the one that he almost always picks when it’s reading time. Clark has been through the “The White House Pop-Up Book” by Chuck Fischer so many times that, almost as soon as Clark and his mother walked onto the White House grounds Thursday, Clark knew where they were…

Read the entire article here.

Invisible Bridges: Life Along the Chinese-Russian Border

The New Yorker
2016-02-09

Peter Hessler

In the summer of 2014, Davide Monteleone, an Italian photographer who had lived in Moscow for more than a decade, began to travel to the Russian-Chinese border in search of something that felt real and reliable. “I had been covering the uprising in Ukraine, and then the civil war and the occupation of Crimea,” he told me. “I was disturbed by how hard it was to remain neutral when there was so much press attention. I felt like whatever I did was going to be used for propaganda. So I thought about doing something far away.” After the European Union and the United States levied sanctions against Russia, the country began signing high-profile gas and trade agreements with China. “There were a lot of articles in Russia about this new friendship between Russia and China,” Monteleone said. “So I figured, let’s go and see what’s going on. Is this relationship real?”

In Moscow, Monteleone had read about a new bridge across the Amur River that the Russians were supposedly building at the city of Blagoveshchensk. “But you go there and there is no bridge,” he said. “People in Moscow knew about this bridge, but the people in this place didn’t even know they were planning to build it.” In the regions around the phantom bridge, he noticed other things that were also missing. “On the Russian side, there’s no agriculture,” he said. “It’s forest and that’s it. You ask the Russians why they don’t grow anything, and they say, ‘The weather is not very good; you can’t grow anything.’ And then you cross to the Chinese side, and there are plantations everywhere! It’s only two hundred metres, so the climate must be the same.”…

…Over the past two centuries, there have been periodic tensions between Russia and China, including some serious border conflicts, and historically Russia has usually held the upper hand. But nowadays, at the personal level, Monteleone notices a different dynamic. “In a remote place like this, the Russians just wait for something that is going to happen, while the Chinese try to do something,” he said. This disparity seemed to shape the interpersonal dynamics of many Russian-Chinese couples that Monteleone met on his travels. In Blagoveshchensk, he spent time with a Chinese businesswoman who runs a small empire of Russian hotels and restaurants. Back in her hometown of Harbin, she has a husband and a child, but across the border she has acquired a kind of modern-day concubine—a Russian husband, along with another child. “I suspected that the Russian husband—it’s also for practical reasons,” Monteleone said. “Chinese cannot open companies in Russia if they don’t have a Russian partner.” He found it fascinating to watch them interact: “She was saying, ‘Go and get the car!’ ‘Bring me there!’ ‘Call this person!’ He was a husband, but at the same time he was an employee. She was speaking Russian, but in a strange accent.”

That was one of the few mixed couples that Monteleone encountered in which a Chinese woman was paired with a Russian man. “The combination is usually Chinese men and Russian women,” he said. This may be a result of simple demographics: in Russia, there are only eighty-seven men to every hundred women, whereas in China there are a hundred and six men to every hundred women. But, in Monteleone’s view, it’s also a convergence of different social and economic forces. “It’s because men die much sooner in these parts of Russia,” he said bluntly. “In this kind of remote region, there’s no jobs, no activities, no way to spend time, so the men just drink.” He continued, “And Russian women here seem to be much more responsible than men. I’m sorry to say it, but they’re the ones taking care of things.” On the southern side of the border, he noticed that language schools are full of young Russian women who seem dedicated to acquiring Mandarin, and perhaps a Chinese husband…

Read the entire article here.

Black in the USSR: The children of Soviet Africa search for their own identity

The Calvert Journal
2016-02-04

Photography by Liz Johnson Artur

Photograph by Liz Johnson Artur

“When people ask me about my background I usually start by explaining how my mum is Russian, my dad is Ghanaian and that I was born in Bulgaria,” says the photographer Liz Johnson Artur. “It often becomes a long explanation.”

The explanation goes something like this. Along with many African students in the 1960s, Johnson’s Ghanaian father was given the chance to study in Eastern Europe as part of the Soviet Union’s efforts to expand its influence across the African continent during the Cold War. His time in Bulgaria studying biochemistry was cut short after four years when all Ghanaian students were expelled from the country following a confrontation between African students and the police. By then he’d already met Johnson Artur’s mother, who gave birth to their daughter in 1964, a few months after his departure.

Johnson Artur spent her childhood in Bulgaria and then Germany and has been based in Britain since 1990. Her father was unable to return to Bulgaria and is now settled in Ghana. She only met him for the first time in 2010. After doing so, she felt moved to start documenting the stories of other Russians of African and Caribbean origin. “Most black Russians that I met in Moscow and St Petersburg had also grown up without their fathers. Some had been fostered or grown up in children’s homes and had never met their mothers. But we all agreed that we felt Russian as well as African.”…

Read the entire photo-essay here.

An Artist Stands Before Her Fun House Mirror

The New York Times
2016-01-06

Amanda Fortini

Genevieve Gaignard, “A Golden State of Mind” installation, 2015. Credit: Eric Minh Swenson, via The Cabin LA and Diane Rosenstein

LOS ANGELES — On a recent Friday afternoon, Genevieve Gaignard, a photographer, collagist and installation artist, was sitting on her bed in the room she rents in the Echo Park neighborhood. For the last year, Ms. Gaignard, who takes self-portraits costumed as various alter egos she imagines, then builds fictional domestic spaces for them, has lived in this nondescript, book-filled and thoroughly carpeted apartment with a professional couple in their late 20s, their chatty lime-green parrot and three cats.

Ms. Gaignard, who is 34, with strawberry-blond hair and long, acrylic nails painted the matte pastel colors of Jordan almonds, had decorated her bedroom with charmingly girlish touches, like a white net canopy befitting a fairy-tale princess and a Felix the Cat clock with a pendulum tail. On every surface were snowdrifts of stuff: piles of clothing, toiletries, plastic sunglasses. On her desk, a bra and a half-eaten granola bar shared space with an assortment of wigs. “This is what happens; this is how involved I get in the artmaking,” she said, waving a manicured hand around at the clutter. “Everything else sort of falls apart.”

A 2014 graduate of Yale’s photography M.F.A. program, Ms. Gaignard does work that reclaims everyday items: hair curlers, curling irons, plastic party favors, costume jewelry, towels. These she finds at thrift shops, dollar and beauty supply stores, or via her mother, who, she says with affection, “is kind of a hoarder.” A forest of Vanillaroma air fresheners dangles from a pair of yellow knee-high boots. A collage made to resemble the faux-wood paneling of a suburban basement is appended with miniature knickknacks. “It’s not like, ‘Hmm, can I make something out of nothing?’” Ms. Gaignard said. “It’s literally like, ‘What do I have access to?’”…

Her recent show, “Us Only,” at Shulamit Nazarian Gallery in the Venice neighborhood, featured a variety of pieces that blurred the lines between highbrow and vernacular, unraveling stereotypes of gender, race and class in the process. Her photos are often likened to those of Cindy Sherman, arguably our most famous costumed self-portraitist. But this comparison takes into account neither the animating impulses of her art — Ms. Gaignard is biracial, and her background forms an essential through line in her work — nor the decades of intervening culture since Ms. Sherman began taking pictures in the late 1970s. Third-wave feminism, online dating, even the ascent of the selfie: All are likely influences on a female artist photographing herself today. (Ms. Gaignard told me that Diane Arbus, not Ms. Sherman, was her seminal artistic inspiration, in part because she feels like “one of the people she photographed.”)…

…Sarah Lewis, a professor of history of art and architecture and African and African-American studies at Harvard, said that Ms. Gaignard’s art explores “the often undiscussed subject of racial indeterminacy.” It is, Professor Lewis notes, a topic well covered by 20th-century writers — Jean Toomer, Nella Larsen, Danzy Senna — but by few contemporary visual artists. Ms. Gaignard’s approach is not narrative, didactic or overtly political; she wittily employs symbols a viewer understands on a visceral level, even as a more explicit meaning remains elusive.

“Her work avoids any easy answers about race or identity,” said Gregory Crewdson, the director of graduate studies in photography at Yale. “I don’t think it’s in any conventional sense a critique. It’s more ambiguous than that. And that’s part of its power.”…

Read the entire article and view the photographs here.

Documenting the UK’s Black and Mixed Race Gingers

Vice
2105-08-24

Natasha Culzac

Francis Johnson by Michelle Marshall

How would you describe a typical redhead? Do you think of Julianne Moore: light skinned and beautiful, with rust-coloured hair and a flush of crimson through her porcelain cheeks? Or do you think of Ed Sheeran?

Either way, it’s likely the redhead in your mind is white. Red hair is mainly considered the preserve of northern Europe, a Celtic-Germanic trait. This is what resulted in London-based photographer Michelle Marshall’s quest to capture as many Afro Caribbean redheads as possible as part of her project, MC1R.

MC1R, or Melanocortin 1 receptor if you’re feeling fancy, is the gene responsible for red hair. Mutations in it can cause various degrees of pigmentation. It’ll either work “properly”, causing your hair to get darker, or it will become dysfunctional, not activate and then fail to turn red pigment to brown, causing a build up of red pigment and thus, red hair…

…Dr George Busby from the Wellcome Trust Centre for Human Genetics agrees. He says that the red hair and freckles is the likely result of the historical interactions between Europeans and Africans in the formation of the Caribbean populations – most notably with Brits, as the Spanish and Portuguese went to South America.

George states: “This might also explain why you occasionally see red hair on a black Caribbean person who has two black parents. By chance alone, it might be that they are both carrying a European mutation which has come together in their child.”

Most of Michelle’s subjects have been in the UK, though she’s had a lot of interest in the US and some in mainland Europe. “I’ve got the whole of London on this,” she laughs, when describing her army of spotters…

Read the entire article here.

Photographing Multiracial Families In Scotland: Celebrating mothers, daughters and diversity through portraits

Medium for Pixel Magazine
2015-12-17

Interview by Emily von Hoffmann and Polarr

Image courtesy of Kim Simpson.

Portrait photographer Kim Simpson began her Exottish project after her daughter, who is of mixed heritage, experienced a series of racial insults in her primary school in Scotland.

Kim says she hopes her portraits — which feature families with some “visual differences” between their members — will encourage viewers to revisit their engrained ideas of what it looks like to be Scottish.

For Polarr, Emily von Hoffmann spoke with Kim about the work and her experience as a parent in a multiracial family.

Emily von Hoffmann: “Girls and Their Mothers” is one part of the larger Exottish project. What does “Girls and Their Mothers” entail? Who are these women?

Kim Simpson: “Girls and Their Mothers” is a collection of portraits of mixed race girls, of all ages, with their mothers — 48 portraits featuring 16 different families in a mix of individual and group portraits.

Instead of questioning their ancestry or scrutinizing their appearance, I chose to photograph girls and women of mixed heritage and their mothers with an intent to question social perception. These images display their relationships, linking these girls and their mothers together while at the same time respecting their disparity…

Image courtesy of Kim Simpson.

…EvH: What sort of national dialogue, or vocabulary even, around race and appearance exists in Scotland? Is it discussed in school, for instance? I’m interested in thinking about this in comparison to the current Black Lives Matter movement in the U.S., and the greater mainstream attention to identity issues of multiracial individuals.

KS: Black Lives Matter is extremely relevant in Scotland, especially at the moment. We have had an awful tragedy that saw the senseless end of Sheku Bayoh’s life at the hands of police officers as he was suffocated during an arrest in Fife, Scotland. Justice has not been served in this instance and it echoes all the hallmarks of what has been going on across the water with concerns of interactions between police officers and members of the black community…

Read entire the interview here.