Monday, November 7th
Old Library 116
Tuesday, November 8th
“Exceptional Circumstances Make Exceptional People”
Book signing and sale following lecture
Old Library 224
Assistant Professor of Art History, Swarthmore College
“Aesthetic Conversions and Generational Takeovers at an Art Biennial in the US/Mexico Borderlands”
Please register here.
Elia Alba (she/her) was born in Brooklyn to parents who immigrated from the Dominican Republic in the 1950s. She is a multidisciplinary artist whose artistic practice is concerned with the social and political complexity of race, identity and the collective community. She received her Bachelor of Arts from Hunter College in 1994 and completed the Whitney Museum Independent Study Program in 2001. She has exhibited throughout the United States and abroad. Those include the Studio Museum in Harlem, El Museo del Barrio, Stedelijk Museum, Amsterdam; Science Museum, London; Smithsonian Museum of Art, El Museo del Barrio, National Museum of Art, Reina Sofía, Madrid. Awards include the Studio Museum in Harlem Artist-in Residence Program 1999; Pollock-Krasner Foundation Grant 2002; Joan Mitchell Foundation Grant 2002 and 2008; Anonymous Was A Woman Award 2019; Latinx Artist Fellowship 2021. Collections include the Smithsonian Museum of Art, El Museo del Barrio, Lowe Art Museum. Her book, Elia Alba, The Supper Club (Hirmer 2019) brings together artists, scholars and performers of diasporic cultures, through photography, food and dialogue to examine race and culture in the United States.
Please register here.
Associate Professor of English
Dornsife College of Letters, Arts and Sciences
University of Southern California
“Black Light: On the Origin and Materiality of Blackness”
Aesthesis is a political matter, such that black folk have often sought to challenge a mode of representation that mythologizes blackness as mere absence or lack. There is artmaking that seeks to transfigure both the void blackness is thought to represent and a known world whose “facts” depend on a fiction of black vacancy. These are works that, in the words of curator, Adrienne Edwards, “are philosophically charged, culturally compounded abstractions” and figurations “that point to discourse beyond medium and art movements,” alternately affirming nothing or attuning to the indeterminacy and incalculability of blackness, whether blackness be attributed to person, place, or thing. This is not to suggest that double-consciousness and its deposits can be easily uprooted, but rather that perception and its organization are meaningful and necessarily remain a ground of contestation. This talk concerns the reflective and refractive potentialities of blackness as well as its density or fullness that exceed the capture of mimetic representation. It highlights works that critically explore the received terms and limits of representation in the interest of the dissolution of given categories and conceptual forms. Focusing particular attention on Faith Ringgold’s Black Light and American People series, this talk explores blackness as varied, multi-dimensional, and a light source in its own right.
Professor Jackson is the author of Becoming Human: Matter and Meaning in an Antiblack World.
This event is co-hosted by the Bryn Mawr College Africana Studies Program and the Haverford College Visual Studies Program.
7:00 pm (via zoom).
A conversation with GYSTERE, Musician, Director, Cartoonist, Intergalactic Keytar Hero
Presented by the Film Studies Program, the Department of French and Francophone Studies, and The Center for Visual Culture
After registering, you will receive a confirmation email containing information about joining the meeting.
Professor and Chair of African American Studies
Core faculty member of the Culture & Theory Ph.D. Program at UC Irvine
American writer, dramatist, filmmaker and critic
Cinematic Slavery: the Longue Durée of Social Death
The antagonism between Blacks and Humans lurks beneath the surface of 12 Years a Slave (Steve McQueen, 2013). But in Manderlay (Lars von Trier, 2005) this antagonism avoids the pitfalls of disavowal that all too often characterize the signifying strategies of 12 Years a Slave and, by extension, public debates around race. At the core of this civic and cinematic disavowal, is the failure of discourse to remain in the hold of the ship; manifest in an inability or unwillingness to grapple with the difference between gratuitous violence, which elaborates and positions Black people, and contingent violence, which disciplines non-Black subalterns once those subalterns have been elaborated and positioned by discourse (the symbolic order).
Suggested background films:
Department of African American Studies
University of California, Berkeley
* Unless otherwise specified, this lecture will be recorded.