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November 23 , 2002 - January 19, 2003

The Museum of Contemporary Art of Georgia

Atlanta, Georgia

Curated by:

Dan R. Talley and Ed Spriggs

Exhibition and catalogue funded by the City of Atlanta, Bureau of Cultural Affairs, the Fulton County Arts Council, the lubo Fund, The Wine Store and the Dragon Foundation


Major funding and support for this organ ization is provided in part by Greenberg Traurig, the livingston Foundation, the Forward Arts Foundation, Mohawk Industries, the TULA Foundation, Morgan Stanley, Trincero Family Estates, Federal Home loan Bank of A tlanta and the Georgia Council for the Arts


Color Culture Complexi~y is the fifth and last exhibition for MOCA GNs inaugural year (February 2002 through January 2003) . The first exJlibition, Martin Emanuel featured new work by a highly regarded artist who has made a significa nt contribution to the arts of the state, both as a superb sculptor and as an insp iring professor of art. The second exhibition, Artists of the Heath Gal/elY: 1965 - 1998 was an historical u'ibute feautring nwnerous Georgia artists such as: Herbert Creecy, Beverly Buchanan, Edward Ross, Cheryl Goldsleger, Genevieve Arnold, John Koegel and Jim Herbert, alongside artists from elsewhere including Jasper Johns, Robert Rauschenberg, Linda Benglis, Jennifer Bartlett, Joseph Beuys, Adolph Gottlieb and Carl Andre-thus, placing the Georgia artists in a more global environment. Transition s, a group exhibition of fiv e Georgia artists: Amalia Amaki, Benny Andrews, Linda Armstrong, Philip Carpenter, E.K. Huckaby and Jim Waters , featured current work plus their work from MOCA GNs perman ent collection. This juxtaposition of old and new work gave the viewer a more in-dep th understanding of the development of the work by these artists. The Celebration Exhibition of the Permanent Collection was a true celebration of the accomplishments of the artists of this state. The exhibition of nea rly 100 works of art symbolica lly marked the beginning of a new " art season. " Artists , collectors and art enthu sia st ra lli ed around this exhibition , formed a parade on Peachtree Street and participated in a joyou s celebration of this muse um, a new home for the arts of Georgia . Color Culture Complexity is a maj or addition to this first year line up of exhibitions. It is our first exhibition to examine some of the social issues facing our cuitme today-those of intolerance, discrim.ination, bigouy and violence -to name only a few. Specifically., tlus exhibition addresses the issues sWTounding racism, both h.istorically before the civil rights movement, and presently in its wake. The work makes us acutely aware of the residual prejudices embedded in our social structure- sometimes subtle, at other times overt. In numerous ways the exhibition takes a painful look back at history, it makes us aware of the changes that have ta ken place, but firml y points out the changes that are still needed. We look sq uarely in the face of the horrible injustices of the past and are reminded or made to understa nd the discriminations that are still permeating our culture. This exhibition is not an easy one to be with. It forces us to examine ourselves, reflect on our own lives and hopefully gives us an awareness that will affect change for the future. I am very grateful to Dan R.Talley and Ed Spriggs for curating this exhibition for MOCA GA. Talley is a native of Georgia a nd co-founder of Art Papers. Currently, he is the director of the Sharadin Gallery at Kutztown University in Pennsylvania. Spriggs is the recently retired founder and executive director of the Hammonds House Galleries in Atlanta, Georgia. They spent innumerable long and painstaking hours researching the work of many, many artists. The 18 that they chose represent a broad cross-section of the country-five from Georgia , four from New York , three from P ennsylvania , one from California, one from Michigan, one from Washington, D. C., one from Arizona, one from Maryland and one from Illinois. The intelligence, experience and insight of these seasoned curators have res ulted in a major exhibition that we are very proud to present. On behalf of the MOCA GA board of directors, I also wish to thank the City of Atlanta , Burea u of Cultural Affairs, the Fulton County Arts Council, the Lubo Fund and the Dragon Foundation for generously funding this exhibition and ca talogue. Annette Cone-Skelton Co-Founder and Dil'ector





Like so many white southemers of my generation, memOIies of state-sponsored and state-enforced segregation seem remarkably distant-like some bad collective ch'eam in the dim recess of childhood. The overt physical reminders have long been pW'ged: In the early '60s, signs denoting white and colored restrooms and chinking fowltains, as well as segregated entrances to commercial and service establishments began to disappear reluctantly. Skin color no longer clirectly dictates rules of access to public transportation, hotels, restamants, or schools. Most traditional segregationists-颅 tile stalmch Old SOUtll racists of my grandparents' and parents' generations-are dead and gone. I personally viewed the passing of several of my own relatives witll mixed emotions-trying to remember the good in them but also tllinking as they departed, "There's one less soul longing for the 'good 01' days of Jinl Crow. '" I, like many of the lew Sou til, believed that legislation would bring a level of inlmediate relief from tile oveIt tyrrumy of racial inequity. I also believed tllat only time could really heal tile deep social, cultmal, ruld economic wOlmds tllat had been bleecling ruld raw for generations. It is regrettable tllat time heals so slowly. As much as I look to positive changes in racial relations dwing my lifetinle, I still see too many signs of that deep-seated, lingering racism tllat was all too visible in my you til. If I can see it from my comfOitable perspective as a white Americrul, how much more visible and visceral must these signs be for non-whites in om cultme? This exhibition explores aspects of race from the perspective of 18 ru路tists from Georgia, tile Southeast, and tile nation. Predominrultly of Africrul and Emoperul descent, tile ru路tists work in a vru'iety of mediums and styles to grapple ,vith tile chru'ged issues that continue to inform ruld shape racial discomse in tllis cowltry--especially in the last half of tile 20'" centw)l ruld the begimling of the 21". The exllibition is intentionally eclectic, drawing its cohesion not fTom a single cmatOlial prenlise that is illustrated and reiterated by a mmmer of artists, but from a broad culttu'a1 question tllat is exanlined by a sampling of rutists eA-pressing a wide rrulge of responses and attitttdes. The exllibition is a snapshot of the thinking and expressions of doubt and hope that fill us all. The snapshot casts an eye back to some of the horrendous asslunptions and injustices that have marked racial struggle dming our country's history; it looks forwru'd , witll mixed expectations, towru路d tile prospect of inlproved lUlderstrulding (most optimistically expressed by ru'lists who desire to move beyond established categories ruld construct new pru-acligms).

Co-curator Ed Spriggs and lloosely limited th e show to the racial dynamics between blacks and whites­ wlderstanding this is only an aspect of racial consciousness and conflict in the United States. We felt that dus is a particularly relevant cmatorial limit to set for a show in Adanta, the center of so much Civil Rights activity, and arguably, a southem city dlat has coped relatively well with the racial tTansitions of the past half-centwy We looked at dozens of artists for dle project before identifying om list of 18; dlere were odler artists we would have liked to include, but scheduling conflicts, work availability, and fuute time to orgru1ize dUs enterprise precluded dlem. While this show is not encyclopedic, it does cover several broad areas that encompass most work about race: the physicality of color apart from its cultw'al implication, dle cultw'al/social mechruucs of race, etluuc expression that foregrounds racial similarities and differences , and commentary on intolerance. The borders of these categories are permeable: Some pieces could fit comfortably in several, and others occupy positions on dle cusp. However, as a general organizing principle, the categories provide a convenient conceptual framework for considering the exhibition, and served us curatorially to ensme that we touched on a sampling of concerns. Historically, color is a mru'ker of race--a simple classification medlod that, when closely scrutU1ized, becomes a fuzzy and wU'eliable ftmdrunental . Closely related to dus notion is a piece by Adrulta-based ru·tist Mru'cia R. Cohen who has created a work dlat is prenuered in dus exhibition. Color Atlas Project: Skin, presents 12 close-up color photograpluc details of hwnan skin (approximately 10'" x 10" each, ruTrulged in a fom-row by dU'ee-cohmm grid). An adjacent computer mirrors dle swatches on the wall, and is equipped with software dlat allows viewers to suggest nrunes for me colors on display. The work is multi-layered, dealing widl pme colm; race, skin color, cosmetics, ruld color nrunes. Cohen feels dlere is a playftu element in dle work, ruld mentions the way the piece references Benetton ads ruld a host of conslill1erist notions about style, the regin1entation of subjectivity, and cultme's preoccupation with confol11uty. Most relevrult to dUs show, the piece emphasizes me sLippeI)' natme of color as category, and points to its LinUtations in regru'ds to discussions of race. Based in Adrulta, Georgia, and Newru'k, Delaware, ru·tist Amalia Amaki takes on dle e~"pression of race du-ough more general n'eatments of its visual mrumestations. Amaki photograplucally mru1ipulates skin tone ruld hair to create images dlat are essentially representational Rorschachs that enn-eat us to reconsider dle dllimess of physical mru'kers and consider dle broader cultw'al mrumestations they suggest. Her works ru'e seductive ruld inn'iguing, however Amaki's primru)' concem is not widl the look of dle work but, its ability to n'igger associations in the viewer. While not oveltly, she coaxes us to consider om deep-seated attitudes. When the insignificrulce of physicality is removed, what is left? How are d1ese remainders cultw'ally categmized, and what do we personally do with them? These issues ru'e complex and so intertwined with oW" Glutw'al conditioning that it is next to impossible to tease out dle tangled du·eads. When color as racial marker becomes fluid , the perception of race is directly affected. Cybele Clark-Mendes uses Linguistic fmms ruld natLu·al objects combined in photographically-based works to explore dUs complexity of color from her perspective as an offspring of a black modler and a white fadler. Art clitic Amy Sult has said of Clru'k­ Mendes' work: " [she] takes an almost rulthropological approach to exploring dle reasons behind odlers' l-e3ctions to her racial aniliiguity. Her computer-aided chromogeluc photos have dle look of mysterious pages from a scientific field-srudy book. NatLu·al objects, pages from rul old dictionru), ruld calligraphic symbols appropriated from long-dead lrulguages interact in swplisingly effective ruld subde ways .... " Content about mi,,1:me and racial hyblidity satlU'ates dlese works ruld, sn'ongly suggests me weak Linkage between such a mutable condition and socially pl-econceived responses.

Linda Hesh {'luther explores the vulnerabilit-y of color as meaningful tn ut in a recently-developed series of images. All of the works begin as formal studio poru'aits of white people. Hesh displays the original poru'ait beside a digitally­ altered version of tlle same image tllat slightly modiJies the subject's hair, facial featm es, and skin color to produce a racially different version of tllat same person. The lUlaltered image is lal)eled "'Safe," the modified is labeled "·Suspect." Partly a commentary on law enforcement's profiling su-ategies and prutly a meditation on her own cultlLl'ally-shaped preconceptions, Hesh's pieces prompt us to consider tlle very subtle physical differences tllat actually exist in tlle two iterations of the same individual. She feels tlus ex-ploration will cause many to realize, "How little actually comprises racial diHerence.·" FlLI'ther ruticulating this tlleme (but moving it into a more social context) is James A. Rose, Jr.'s Colored. TIle sUikingly simple work includes a grouping of t,\'elve obliquely-cropped seLf-pom-aits tllat seem, on first encowlter, to indicate a psychological state of disu·ess. The bllush cast on several of tlle images and the reddjsh cast on others reveal the sOW'ce of tlle disu'ess: racial profiling. Like so many African Americans, Rose (who lives in Philadelplua) has ex-peri­ enced tlle velY real repercussions of some of cultme's associations wid. color. Ll tlle work, the sweep of the emergency lights has physically colored Ius face and tlle word "'colored'" has psychologically stung-refening back to a time in tllis COW1U~!'S racial history when wlute society considered "'colored" a polite, but separating expression. By conflating tlle two usages, Rose, in effect, reminds us that on some levels tllings are, "" sanle as they ever were." As evidenced by Rose's work and his IiJe experience, ucuy sepamting color from cultlLl'e on a physical level can be fraught witll difficulty. No easier is a sepru-ation on the symbolic. Pmslting tl18t line of inquiry is Adia Millett. Her work has been featLu'ed in mrul)' important exhibitions of late, most notably the much lauded Freestyle at tlle Stuclio Musewn in Hru'lem (NY). She is represented in tlus show by IFilh the absence oftime..., a work that comprises tlmteen separate lLI1its.. twelve of which present a white or black needlepoint silhouette against a gray background; the tllirteentll is an overlaid amalgam of ten of tlle inlages rendered in prinlat~! and tertiat·y colors. The thirteen pieces are separately presented in clifferent style frames, creating a vru-iety that individualizes the otllerwise intentionally sinlliru' images. According to Millett, each milt presents one simply coni=iglLl'ed iconic silhouette that demonsu'ates "'how easily color .. . defines an image. With so little information, a black storybook cloud becomes a representation bound up with each viewer's historical u'uths and fictions. Sinlple and entirely fragmented even in their literal fi·anIDlg..., tlle inlages' only relationslup to each other are tlle juxtapositions between pairs of black and wlute images (ex. crow & dove).'" Because of tlle medilUll (needlepoint), the works at'e imbued with an honesty and intimacy tllat is in tension witll the rather non-specific atld open-ended questions and notions suggested by tlle minimally atticulated icons. Color enters ClUtLu'e on multiple levels.

Perry Bat-d's video installation docwnents tlle effects of color on tlle lives of tlu'ee generations of a black family living together i.n the same apat'nnent in Staten Island's Riclunond Terrace section. Joan Hem)! is the "star" of tllis piece, and according to Bard, Ms. Hem), is "'African American, very politicized, articulate and has tlu'ee generations worth of stOlies and complaints from her motller to her granddaughter who clLl'rendy live witll her. " The piece is a tlu-ee chatUlei video work tllat features interviews widl each famil y member; wIllie kinslup is the obvious glue that holds tlus group and tlus work togetllel; race and society ru'e tile tllemes. All tlu-ee women talk about education and tlleir statements renmld us of dle unequal OpportLuuties tllat are a reality for vast nmnbers of children in slili-standat-d schools across the U!uted States. The information in tllis work is delivered witll a hard-edged realism that is only slightly mediated by tlle presentation format: tlu'ee fatniliru' televisions placed in fTont of a comfortable sofa. The exllibition mat'ks the prenuere of tlus work.


Using a similar doclunentary framework, Clarissa Sligh 's work features a series of photographs that examine the racial attitudes of an Atlanta neighborhood tlu'ough portTaitLU'e and text. Sl.lrbl.lrban IlLianla, 1994, preSents individuals photographed in their domestic environments, collaged with photographic details of personal ephemera and memorabilia. Hand-written text is superimposed on the images, generally focused on an aspect of the attist's interview with the subject that deals with race in a specific or generalized context:. Tn some images a phrase is repeated, much as atl echo that reinforces the salient point of the story Doubtlessly influenced by her upbringing as a black female in the '40s and '50s so utJleast, Sligh's work digs deeply into notions of tJle mutable aspects of both place and identity, and meir interface with color and societv.

Colonial Coast, a 9' x 12' painting by Savrumall-based HatTY H. DeLorme, Jr., ckaws together considerations of cultmal prosperity in tJle United States with reminders of me meruls of its production. In tJus work, he conunents on the "'obstacles" -botll hLUnrul ruld enviroIUnental-that stood between tJle eat'lv colorusts ruld what was to become the "'American Dream. " From left to right, a disintegrated enlargement of a seascape morphs into a well-articulated idyllic ocean view. Superimposed toward the top of tJle image are tJu'ee small panels tJlat dep ict a conversation/ conITontation bet"\veen atl eat'ly settJer ruld a Native Am erican, a slup's crew tossing slaves overboat'd, ruld a '50s style suburbrul rrulchhouse. The implications at'e cleat· in tJus astute commentrul' that suggests a host of contemporat·y questions about reparation and tJle inequities of privilege. The work, subtitJed A Brie/HistolY o/Southeast Georgia, also reminds us that Georgia's fOLUldel~ General Jrunes Oglethorpe, had in mind rul idealistic colony that would outlaw slave labor-a drerun mUorumately lUlrealized. While slavery officially ended in tlle United States Jtme 19, 1865, a vicious form of economic slavelY continued. Tlu"Oughout tJlese official ruld lmofficial phases, a curious paradox existed: W]ute culutre segregated blacks from virtlJally all aspects of orgrulized society, but enlisted black labor in some of the most intimate and personal at'eas of daily life. AtJrulta-based at·tist Lisa McCaughey Tuttle explores tJUs historical relationship by recasting antique images depicting interactions between African ruld Emoperul Americans. In one work, TuttJe presents medical illustrations of black hrulds bruldaging wlute cllildren as lat'ge digital photograpluc prints. By recontextualizing tJlese inlages, the lmderlying cliscormect becomes resolmding; the images emphasize ruld expose tJle cynical and insidious nauu'e of tlus double struldat·d by pointing towat·d tJle Iustori cal willingness of White America to accept comfort ruld care from Black America, but resist shat'ing tJle U"Ove of econonUc and politicaJ bOlmt)'. The observation is plainly and painfully eA-pressed in tJlese sinlple but subtly charged images. While sociopolitical remedies to culrurally-embedded racism have made sU'ides, ow' internalized thoughts ruld feelings at'e sometimes me most cl.i.fficul t to dislodge, even when we at'e consciously beyond tlle ideas ruld taboos of yesterday. Confessions., a series of twenty images by Atlanta-based artist Robert B. Stewat·t, utilizes digitalJy­ assembled photographs and text to explore the highly personal ruld evolving relationslup the at·tist shat'es wim atl African Amelican wOmatl. Tlu-ough tJle work Stewart (who is white) acknowledges the comforts ruld conflicts prevalent in any relationsiup, but filters mese daily realities tlrrough the lens of American cululra] convention. Social prejudices and Stewart's own co nditioning and guilt so metim e co me to light within the common OCClUTences of a daily relationship (episodes that would likely CatTY far less chat'ge for a non-integrated couple) . The confessional mode of tJle work is extremely effective as it alludes to tlle vestigial renmants of racism mat still resonate in contemporary culuu·e. Deifying still-lingering cllluu'al taboos into a Sltrrogate Father Confessor, Stewart reaches deep into the social ruld his personal ps yche witll a series of works tllat are in tW'J1 playful, endearing, sarcastic, and painful.


It is in this personal realm that Stewar t so adeptly explores where oW" a mbivalence andlU1certainties reside. OW" relationship to the ideas and symbols of oW" shared racial histories have velY different me.:"Ulings and impacts depending on where you stand in relationship to the Line of color. Heritage, history, and contemporru)1 needs ru"e twisted and played before us in a zealot-lead, mec[ja-covered mru"ch: confederate flags, OJ. Simpson., and the word "'Iliggel:" tell us we' re not there yet. OW" racial llistories and tile hllft that we've experienced must be reconciled. Ll the '80s, rutist Joe Lewis tW"ned to photograpllically-based pieces iliat employ the chemical processes of tile mecli.lll11 in an almost painterly fashion. His soW"ce material includes fragments of personal drawings, appropriated images, ~lI1d computer and video screen shots all combined and mocli.Jied through the manipulations of photochemistry. The pieces ru'e decidedly political touching on racism, enviromnentalism, critiques of corporate cultW"e, and humrulistic devolution. Having worked as a critic and ru·tist, the titles of Lewis' works often clru·if·y and extend a work's meruling. His title: T!}"ing to break through the incomprehensible demoralization of Prozac addiction so that he can go after the real problem, l'Corbusier and hi.Y model71istfriends, gives a cIi..rection for considering the work's primitive figme confronting a well known icon of 20,1, centw"y style. The llistorical exclusion of Africrul American ru·tists from mainst:rerun rut institutions has been rul egregious ruld demoralizing situation to generations of black mtists especially considering tlle influence tllat Africrul sculptW"e had on a host of impOlt~U1t late-1 9'h ruld emly-20'I' century movements ruld ru·tists. The message from mrulYof tlle artworld's most impOltrult scholru-s ruld institutions was, "'We wrult yoW" heritage but we don't want you. " Willie the situation has improved considerably in the past 20 ye.:"U"S, it is still a som ce of irritation, and yet rulotller shruneful example of usage ruld sepru·a tion. Stephen Mru'c is represented in tlle show by in18ges from two of work: Soul Searching', and Woodr;tockiOhio. Working, Mrul: deals witll autobiography and the Africrul Diaspora. He writes that his pieces "'ex-pruld the way the Diaspora is photographically represented... [ruld] extend the range of visual storytelling:" Mru'c's visual materials include photographs, drawings, family snapshots, antique photographs, and collected objects that ru-e "woven into ClutlU"al doclU11ents and peI"Sonal histOlY." MrulY of the pieces include images of tlle body covered witll patteming. The designs become integrated witll tlle image and suggest tribal mru'kings that allude to the "spiritual and n'rulsfonnative power" of long-established ri tual. The pieces ru'e sn1king because they suggest historical roots but ruoe presented in post-modern packages that quote a variety of visual somces. Tllis Ilistorical/pel"SOnal weave becomes a metllOd of clischruging negative accretions by positioning iliem, through a host of visual strategies, into a l-eru·ticluated, equalized whole. The foundation images in Mark Steven Greenfield's pieces are late-19'h ruld e.:·1rly-20oJ , photographs of wllites in blackface overlaid witll phrases printed in a style rerni.Jliscent of eye exanlination chruts. Problem Child features a photographic pOl'n'ait of a frowning Al Joelson in blackface, overlaid with six Lines of text in increasingly smaller ty pe ilia t reads: "M AMM YSHOU LDHAVE WHOPPE DYOASS:" The contemporruy absmcli.ty of the blackface chru'acter is heightened by Greenfield's text. While mrul)' of llis works evoke a sympathetic smile or chuckle in tlle viewer, tlle hist0l1cal lU1deq)innings of the practice ru'e rul)rtlling but fLUm)'. Greenneld comments: "'Generations of African Amel1cans have suffered gr1evous injmies at tile hrulds of people whose [jvelihood was derived from creating ruld reinforcing stereotypes tlu'Ough blackface minsn·elsy. The creation of a stereotype was an essential element in maintaining white America 's illusion of superiority. It chru'actel1zed AU'icrul Americruls as buffoons and n'icksters, as inherently lazy ruld immoral, ruld as peremlial children who were dependent on the paternalism of om 'masters' for smvival. " Willie blackface is now thrulkftilly passe, one need look no flU·tller ilirul white rapper Erni.Jlem to realize tllat wllite cultme's brazen appropriation and pru"ody of black imagery ruld style is alive ruld well a t tlle dawn of tlle 21" 5

Billie Grace Lynn 's kinetic sClJptme, BLackmail, is animated when a gallery visitor attempts to kiss a disembodied black face that is suspended about six feet h'om the floor (kissing is encomaged). But tJle visitor's approach is some颅 what obstructed by a large protruding phallus. Once touched, the phallus ca uses the face's moutJl to open and a large pink tongue to extend. Air cmrents arOlmd tJle scwptme cause th e eyes to move, creating an eerie W'e -like effect. Lynn says of dle work: "The piece examines the stereotype of African American male sexuality. Building an effigy dlat embodies racist stereotypes enabled me to confront my own internalized racism by exposing it visually. PoplJar cwtme propagates the myth of black male virility, vilifying him and as weUmaking him more animal-like." The piece-with its Rube Golclbergesque armatme, wires, and puUeys- is compelling, but also intimidating, a menacing metaphor that all too sacUy embodies a host of poplJar beliefs. While dle artist's intentions are clearly non-racist, dle piece is troubling to many because its inherent ambiguity allows it to be read as cwtmal commentmy, but also as a continuation of a racist stereotype. Born in Georgia (now living in Philadelphia) , Sally GrizzeU Lru-son's \vork in dus exhibition takes as its somce an lustorical inlage of a lynching. Details of the antique image m'e re-photographed so dlat the faces, expressions, and gestmes of dle "audience'" m'e displayed in fom panels-two flanking eitller side of tlle fuU image. These erJm'gements, taken out of the horrific context of the lynching, seem to represent a range of typica l human states including wistfulness, aloofness, m'rogmlce, and surprise. Lldependent of the source and lmawm'e of dleir context, the images would likely inspire a certain level of identification in most of us. But in context., tJley m'e warnings about mob mentality and the tendencies of mobs to mirror lru-gel" rea li ties that often exist just below the surface in vast portions of a supposeclly civilized society. After all, a mob ac60n is essentially a democratic decision widl lillie or no intervention from those abstaiIung. Ll a post-9/1l environment, it isn't hard to find contemporru-y exrunples of atTocities that con6nue to be enacted in tlle name of jus6ce, security, retribu60n., and precaution. Braclley BuUock conh'onts and explores Ius belief system and tlwt of the viewer regarding race, stereotypes, and prejudices. He says of Ius work: "These issues presuppose a system of power where one individual or group is placed ahead of anotller. Overdy tlus system is estal)lished and maintained dlrol.lgh eXl)licit ideologies. Covertly tlus system exists within an individual's belief system, wluch is formed dU'ough many variables including exveriences botJl direct and indirect, socially, mld cWuu路a.Uy." BuUock uses portraits of faces and text to consO'uct metaphors which allude to belief systems and medlods of distancing mld sepm'a6ug. Your Face Here?, at once humorous and blwltJy indicting, presents dle opportwuty for a viewer to place dleir face du"Ough an oval cutout in the hood of a life-sized photograph of a Klansman. The implication here is clem', and wl.fortlll1ately, right on tru-get. William Christenberry is widely known and respected for Ius work based on the clJtmal and geograpluc reali6es of dle towns in mid m'olmd Hale County, Alal)anla. I-lis paintings, drawings, photographs, and objects about the econonUcally disadvantaged ru-ea resonate \vidl melancholy, sympathy, and a reso'ained passion. Poverty provides ferwe grolmd for scapegoating and hao'ed, and lmforUmately, the existence of the Ku KILL\: Klan in the rural SOUdl is an inescapable fact. Radler than ignoring dus aspect of Ius cherished birdlplace, Clu'istenberry has ac6vely explored dle Klan in a vm-iety of works dlat he began producing in the em'ly '60s. I-lis tableau, The KLan Room, now includes nem'ly 500 objects and d.rawings, and was recendy presented in major solo exhibitions in Cologne, Germany and Brussels, Belgium. The Klan scwptures and staged photographs of dle Scwptlu'es included in dUs exlUbi60n m'e prime examples of how the Klml pieces have evolved since Christenbeny began working \vith the Fabric Workshop in Pilliadelplua i.n 1991 . The CLUTent pieces m'e more abso'acted than the em'lier, more literal works; dle newer pieces

are somewhat amorphous, tubular forms with pointed tops and the infamous Klan logo silk-screened directly onto tlle "·body. " Unlike many of the earlier posed Klan dolls, these figmes are presented in situations suggesting they are being brutalized and tortmed. The accompanying photographs also display tllis element of violence toward the Klan-a way of tmning the tables on an orgrulization tllat has wreaked Lmtold havoc since its inception. On a metaphorical level, Christenberry's current Klan pieces see m to be both a means of reta liation a nd path to psychological attrition . Like so mrulY wrute southerners, Christenberry has occasionally been painted with a broad brush by those who don 't know the so uth-their assumptions about southern attitudes on race just as unfounded , inaccmate, and Lmproductive as any otller racial stereotype. The complexity-tlle way that color ruld cultme are intertwined ruld transmuted one by the other-runs deep. Black/white, southern/northern , liberal/conservative, and the millions that don' t fit neatly into any of these categories ru·e all caught up in tlle same commdnun. Let us hope that in tlle futme when someone stLmililes onto a virtual copy of tllis catalog, the words ruld works included will seem rultiquated ruld irrelevrult in all but an rustori­ cal sense; the healing so mrulY rulticipated in the 1950s and '60s will have come to pass; econonUc, educational, and social inequities will have been resolved; ruld hwnrulity will have fOLmd a way to exorcise its deeply held suspicion, miso:ust, intolerrulce, ruld hao·ed. DeW

R. Tallev

Plliladelprua, PelUlsylvrulia Octobel; 2002 /VIy sincere thanks Lo co-curator Ed Spriggs for his insight, e.?:perience, and hard questions; the artists for/oaning their work and endwing a/1 ofour paperwork, emails, and phone calls; David S. Colden and Annette Cone-Skeuon forfounding such an linportant and vital institution as MOCA cA; A,,!>, Pan)'; assistanlto the &rectorofMOCA cA,fordealing with the unending task ofscheduling and overseeing the transportation of the works of art and attending to the various needs of the participating artists; joan Body jor her impeccable design work; Merle Sz)rr:llo for her never-failing editorial eye; Karen Stanford for her tireless cura/.orial assistance; and Mmyjor her moral support, patience, Clnd love.

Orul Talley was one of the fOlmders of Real Art Ways, in Hru·tford, COfm ecticut (1976). RAW is one of the oldest continuously operating ru·tists' spaces in the COUlltJ)'. He then served as the fu-st gallery di.rector and later the president of the now-deflmct Atlanta An Workers CoaLtion (1977- '80). Collaboratively, Talley ruld AAWC director Julia Fenton evolved the organization's newsletter into a tabloid newspaper which, with LalLra Lieberman as co-Editor becanle Art Papers. Ll 1987, Talley becanle gallery di.reclOr at Nexus Contemporru·y Art Center (now tile Contemporru·y) . From 1989-'95, Talley served as the director of the FORUM Callery in lrunestown, New York. He is cw-rently tile director of the Shru·acl.i.n Art Gallery at Kutztown University of Pennsylvania.




Atlanta, Georgia and Newark , Delaware

Both works are ji'om the series Blink! Th ey expLore the implications o/culture, p erception, alld presumption. particu[ar6' as it relates to hair and skin . For this reason. hair is elimin ated, and. in th e case exaggerated. Th e idea that an indieidual can be encapsulated in th e lhin layer

0/ F e a th e r~/Il1dian ,

0/ matter called

skin tone is

skin is etJidence


lh e pOice/jit! dXllamics o/race and cultllral affiliation. Who I this reDeals about society' is sLight6'less intriguing thanlrh at it says about th e se(( Thlls. a p rim(//)" intent

0./ th ese /l'orks is to present a test. What do x ou see? IfIh.r do .roll see it? And

what does it say abollt how YO Il see yourself,) - A.A.

Am a li a AlIlak i. If Wearing Fea /h l'rs

00(' ., 1\'0/

.1/"k(' lim I" dia ". Then Does Drinking CofF'" .Ilak" Yo" B tack.>. ::!OO::!.

di gital phologrupll. 60 -- x 80'-. Im agt cO llrl (,~ y uf tlt e

H rli s l.

PERRY BARD New York , New York

Pe rry Bard . \"ideo srill frolll 10011 1~/e nly. 2002. vid eo m onilol's. sofa. s yn c hroniz a ti o n unit. dim e ns ion s variabl e . Im age coul'Lcs y of Ih e a.-li s1.

Joan Il e l~ry is a 3 monitor video installation about the shape of time. Joan, her mother Juanita , and her grand-daughter

Jeannette span fOllr generations and while their simultaneous presence on three screens invokes past, present, and future; time is also seen as continuous, simultaneous, and circulw: All three speak about education: Juanita describes her grand足 motllel; a house slave, being educated by "the p erson she belonged to " although it was against th e law. Joan talks about hating Dick and Jane andji.nal(y getting a GED when she was 48 y ears old while Jeannette, now 18, tells why she dropped out ofschool. The three monitors create a dialogue and as the stories of these African American women overlap and intersect, time is articulated as a comple.x fabric where history, memOIY, and the present collide. - PB.


BRADLEY BULLOCK Carterville, Illinois


work seeks to confront and explore the beliefsystem ofthe viewer and myself regarding race, stereotypes, and prejudices. These issues presuppose a system ofpower where one individual or group is placed ahead of anothel: Overt(y this s),"stem is established and maintained through explicit ideologies. Coverl6,' this system e.1:ists within an individual's belief system, which is formed through !flany variables including experiences both direct and indirect, social6" and wltl/rall)'". ImagelJc in my work is not oni)'" subject to direct critique of a group or ideology, but simuitaneous(y serves as a metaphorfor an examination of a construct of beliefs possib(y held by the viewer and my self - B.B.

Bradl ey Bullock , Projecled Representation (d eta il) , :WOO , digital inkj c t print, 31 " x 34 " (a rea of dela il ) . Image courtesy of th e arti s l.

WilliAM CHRISTENBERRY Washington, D.C.

William Christenben:y is widely known and resp ected for his work based on the cultural and geographic realities of th e towns in and around Hale County, Alabama. His paintings, drawings, photographs, and objects about the economically disadvantaged area resonate with melanch06~ sy mpathy, and a restrained passion. Howevel; poverty provides f ertile ground for scapegoating and hatred, and unfortunatel),; the existence of the Ku Klu.1: Klan in the rural south is an inescapable fa ct. Rather than ignoring this aspect of his cherished birthplace, Christenben y has actioely e.1:plored th e Klan in a variet:y of works that he began producing in th e ear!;y '60s. I-Ie say s of the work: In 1961, before I left Tuscaloosa for New York, I read in the Tuscaloosa News thalthere was going to be Klan Rally in the Tuscaloosa Counly Court I-louse. So a friend and I went down-I'd alway s been curious, I'd never seen a Klansmen and I'd hear about secret Klan meetings. I got to the lobby and there was no evidence ofthe Klan, then I got up to the third level and I looked to my left and there was a Klansmen in full robe and hood. He was the on!;y one there and was sort ofstanding at attention. When I approached him, he didn 't move his head, he just moved his eyes, and it scared me to death. To this day I can still see that image. That encounter triggered so much work, beginning with drawings in my sketchbook and some expressionistic paintings. Overtime the work became a tableau, an environment of close to 400 objects, Klan dolls, and over 100 drawings. - From a conversation wi th the a rtist, October 1, 2002, in his Washington, D.C . studio.

Willi a m Chri ste nb err y, Kla n Doll Ph olograph , 1992. chromoge ni c prinl , 16"' x 14 " . Ima ge co urt esy o f th e arti st.




Ka lamazoo, Michiga n

S lrit:e / orth e slrenglhs 0/10.000 queens Amalgamate Ih e richness and depths 0/ dreams The subjecl 0/ ra ce as biological and as an arbillw ),' social constru ction is al th e crux 0/ mx £nvestigat£on. I take cues directly from my bod); and I am ii.leled by Ihe assllmplions based on " !y racial wnbig llil)': Such experiences are Ihe fu el/or m) ' art making. This body 0/ work, IiIled Amalgam ated Signifiers, examines the / onnalion 0/ raciaLhx bridi()". Through Ihe use 0/ obscure definitions, anliqualed shorlhand signs, and /orms /o und within nature, I manifest enigmatic jll.1:laposilions 0/ word and o~iec l. 111. these images, the natural obj ects operate as metaphors /01' p eopLe, as


breed,'tlali1"e.) The of a Ilcgrcss by a white man, or a white woman by a negro. ll[ll-11it'tl·ess,n. .A female mulatt.o.

lt1ii.l'b~l'-l·Y, n. [M. H. Gel'. mfll­ be1', 1Ilfllbm'e, mftrpe1'i, 1Ilorpe1'i,

N. H, Ger. lIUtulbee1'e, Sw. lIml­

ba.'r, Dan. m01'biir, Ieel. 1ni)?'ber,

D. moe'l'bei, moe1'bezie, A-S. 1nm',

7n1t1'be1'ie, from Lat. 1norwn, mul­

berry, m01'U8, a mulberry-tree; Gr. pwpuv, p,6pov, P,l)pcu . ] (Bot.) Tbe berry or fruit of a tree of the genus 11[01"1t8 i also, the tree itself. MiHcll n. Allied to 3.

(: ,,1> ,, 1,· (: Irll·k-\·(c lld es . .~tlll b e rlY. 1<)<)9. c hro mogeni c p rill!. 2-+ " ,20"

Image ("o llJ't cs y o f the Hrri sl.

well as ullering aspects of mx being. AdditiDna/I).; I use sh0/1hand to summon the arcan e, which sp ans cenluries and c£vilizations. Evoking Phoen£cian cuneiform to Egyptian hierogl)phs, these symbols represent tite mulJiplicilY 0/ I.anguage. Tlu:~ work embodies vwied Levels 0/ Language and exponenliaL degrees 0/ mixture. Ama lgamated Signifiers a£ds the exploration 0/ Illy e.1:islence as an individuaL living in a societx lhal has histor£cal(y attached meanings lo skin coLO/:

- C.C.M .



Adalila , Georgia

Man'ill R. C"h"" > Color Alias Projecl: S kill (d e IHil ). 2002. chromoge ni c prinl , -16" , :H " ove r,,11. Image (O ollrt es y of llu' a rti s •. (Software design aJld illlplcIIlCIII':1fioli by Liz Throop. 2002 .)

To understand color one mllst observe Ihat it is omni direclional, ever changing, and mysteriolls. Th e sensalions of color arise j;'om a comple:!; series offa ctors involving Ihe ~re, th e brain, and th e mind e.1:erling profollnd influence on ollr lives­ affecting the W(~r we see, acl, and f eel. I often asserl lliat almosl ellel)," decision we make is informed or i/~fl.lI en ced by colol: Color Atlas Project: Skin is a 1Il0rk in process, a pSlledo chromatic lexicon Ihat charts, names, and orders groupings of disparate ideas about color and appearance. Skin also implies a jlowing, senSOI)' device Ihat responds 10 heal and cold, pleas/lre and pain, il is the line bel ween th e hidden interior and the visible exterior. In the realm of the human bod}'; skin color is a complex socio-biological phenomenon j;·al.l.ght with racism and cultural jingoism..

Of the many dim ensions of color, its abili4y to commllnicate as a sign and a s)'"/I1bol is ofparticular interest to me. Color is a primOl)" signijier of wllures ancient and modem and inherent to the phenomena of color i.s its ability to communicate by anCllog)~ Nowhere is this more ellidpnl Ihan in the domain ofcolor naming where th e parado.1:icalnall.1re ofcolor stll(~Y emelges: from the precise clarify of measllred color to Ihe illusille and m'ystical realms of Ihe effects o/ colol; and Ihe ji-ee­ form poetic nomenclaillre 0/ creating new color names is big business. The color grid [alIas] 0/Skin inlliles 'you 10 parlicipale in a process 0/ crealing new color names and associations.

- M.R .C.




Savannah, Georgia

Harry H. De lorm e, Co lonial Coas t , '199 5, acrylic on canva s , panel , aluminum , 96 "x 144"' x


Image co urt es y of th e a l'ti s t.

Colonial Coast: A Brief History of Southeast Georgia signifies the continuance of the colonial mentality to the present, in regard to both race and the environment. The central figure is Owt 0/ an English officer drawn from an 18'" centl,lI}"IJrin/

advertising the new colony 0/ Georgia. The figure represents Georgia founder General James OglethOlp e, who envisioned an almost utopian colony which would provide new opportunities for imprisoned debtors, and would not allow slave labo/: Neither one of these intentions ultimate6' held. Th e painting is a triptych with inset images-one in each panel足 ref erring to an aspect of each cenll.llY of Georgia s p ermanently colonized histOlY. These include a /ragment of a print showing a Native American/rom the Savannah area who was brought to England in the late 1700s (th e indigenous peoples ofGeolgia having been lwge6' decimated by this point, jrom earlier contact with the Spanish and English). The middle panel inclJ./des anolherpl7'nl depicting contraband slaves being dumped overboard---a common practice after the importation o/slaves was outlawed in Geolgia. The third inset panel depicts a typical coastal home reminiscent of those built in numerous gated communities along the GeOigia coast. Th ese vignettes overlay a lwge image of the Georgia coast that transforms from realist view of the Atlantic at Ty bee Island (the ently point to the Savannah Rivel) to a disintegrated enlargement of a sea view from a contemporw:r real estate magazine. - H.H.D.



Los Angeles, Ca lifornia

Images 0/ p eople in bloch/ace have been a source 0/ both disturbance and fascination to me. These images are intensel)" powel/ul in both their literal statements and in th eir ability to allow viewers to create a conte.'f:t through the bias 0/ their own associations. Generations o/Afi'ican Americans have suffered grievous injuries at the hands 0/people whose livelihood was derived fi'Oln creating and reinforcing stereotypes through black/ace minstrelsy: The creation 0/ a stereoZyp e was an essential element in maintaining white American 's illusion 0/ superiority: It characterized AJi'ican Americans as bujJoons and tricksters. as inherently lazy and immoral, and as perennial children who were dependent on the paternalism 0/ our "masters" /01' survival. The psychological slavery~ that ensued /ollowing emancipation, was contingent on making its victims appear to be less than human. The images I've used are taken Ji'om late nineteenth and early twentieth century' photographs 0/ vaudeville and min足 strel show p el/orm ers. 11'0 n ical"y, black/ace minstrelsy. through its wholesale appropriation 0/ Afr'ican American culture, is recognized as "A merica s first indigenous musi足 cal-theater genre. ~ Manifestations e.'f:ist to this day in evelythingfr'om black stand-up comedy to the "crews" and "posses " of hip-flOp. This has given rise to yet another sea足 son 0/ cultural appropriations, particularly in the area 0/ musIc. MX work entreats the viewer to look at these images, while at the same time looking through them, to discover an alternate conIe.'f:l. It is my hope that th e work might ojJer a glimpse into th e origins 0/ some conscious or subconscious contemporary' thinking with regard to race, colO/; and gendel: If.YoU are discomforted by what you see, I invite .you to e:mmine those f eelings, /01' out of this examination will come enlightenment. - M.S.G. (excerpted from "Blackatcha: Behind the Grease Paint and Cork," an essay by Ma.rk Steven Greenfield included ill Blackatcha, a 2002 catalog on Greenfield's work pub足 Ib hcd by Filii Court Press. Los Angeles., Ca lifornia) BruTlt

Mark Steven Gree nfi eld,

Nighllllarc, 2001., Iri '

print. :l8 " " 2-1 ",

Ima ge co urt es y of th e nrti st.




!\ th. Bailli er, Viarylulld

Sa fe/ Suspect was a series Ihal I had conceplllali=ed a couple o.(rears ago. Th e terrorist allacks 0./9/1 1101 slldden~r made Ihe idea l'elY relel'anl. Racisls/elll'indicaled as Ih eir slIspicions appeared 10 become reedil) : People mere bein u detained and qlleslioll ed/or Ih e color 0/ Ih eir skin. all alignll/enl 0.// acial/ealllres. and a I)pe 0/ head I/!ew: Glir "lI1elling pOI" .wddell~r seell/ed 10 hare a bad elemelll Ihal needed 10 be exlra cled. Cont'enienll]; Ihal elemenl looked d(lJerenl enough Ihal an. \"One cOllld pick il 0111. Digilal lec/1II010g J' aI/oms II/e to e.1perill1enl lI,ilh


Oll'n reaclions 10 elhnic appearance. Each piece storIed wilh a /orm al,

cOII/m ercial sllldio porI rail. The 1I10dels are IIsed as manneqllins th a I I digital6' alte/: I would nol consider m'ysel/a racisl, bill I knOll' l/eel ddreren/~r abolll Ih e "Scl e" people and Iheir "SlIspecl" tlersions. A change 0./ skin tone Clnd/acial slru cture can lead 10 asslIlI1plions abolll place 0/ birlh, II/e hisIOI:); 1I10Iil'alions, and p ersonalil)": The concepl o/pholography as a depiclion 0/ realily is so slrong. Ihal comp"lelcallered images can be I'el)," conjilsing. We look/rom one ill/age 10 (l nolher 10 11.1 '10 decliJher lite m)"slel.J 路 0./ whal has been digilal/x allered. Through Ihis process, our / eeling abolll elhnic appearances may be rel'ealed, as /lie become ([[rare 0/ hall' lillIe acluaI6,' comprises racial ddTerence. - L.I !.



SALLY GRIZZELL LARSON Philadelphia, Pennsylvania

Su ll y Gri zzel l Larso n. Unlilled (Hf/ng ing) , 1990 -1992 , from Ih e ,c d,' s., Indigenolls Ironies, ge lalin sill'e,' prinl s, :3 0 " " 150" ove rall. IIIHIO"(' j~O llrl CSy of th e arli st.

I was born and raised in the American Soulh. In reflecting on fIl)'" Southern e.1:perience, in all its visual and verbal de/.ail, I have come to acknowledge Ihe exislence oj a comple.'!.路 sel oj vallles located within an unreasonable dominanl cull ural lega9'; as well as a reverence Jor Ihe past and a need to constl"llcl and preserve a cerlain identit)'", which incolpomtes, above all, the idea oj being "civilized. "

NI)'" interest is in e.1:wnining Ihese "indigenous ~ (.~imllitaneous(y bOlh exolic and familial) vailles because oj their apparenl e.llect ofJacilitaling and p erpelu ating illusions of acceptabili~y of oJien-indescribable actions and conditions oj being. - S.C.L.




Ne w York , New York

About the work. How many times do [ have to tell YOll detective ... : Working with the ironic and sy mbiotic relationship between legislative connections, obscenity laws, and the savings and loan scandal, I imagine my grandmoth er slapping Charles Keating in the fa ce with her handbag. I can h.ear a detective admonishing her sax ing, "of course the p erson who look y our cash was black [sic]. " If Charles Keating is black then chillerlin :~ don 'l stink. About the work, Trying to break through the incomprehensible demoralization of Prozac addiction ... : Based on an aberrant African p etroglyph the figure, with a hard on, moves quickly towards modernism. Gliding across th e eller-widening gap between the malerial and spiritual, p ersonified bX th e concept of "have" and "not," his arm raised u!ith hatchet ready to do battle wilh Ihe age old cort/licls now encapsulated in the phrase "Post-Modern. " To tout the clean, shwp, and ultra functional bod,y of modernism as a cullural panacea has essential"y removed the idea ofspiritualilX from creativit), The overall effect of ty ing. or ralher untxing cultLlral specifics and rearranging them into "new " appropriated societal forms has drugged the People. Each successive global revolulion-the age ofenlightenment, reason, industrial and informal ion techno uprisings, each move redefining boundaries and terrifories-creates new nomad populations. Unfortunale")'; these populations are educated (even if t.heX weal' skins) and moving to reclaim th.e liule self that is left clinging to the linX cracks made when globalization butts heads with nationalism.


.Io e Le wi s. T/:yillg 10 break throllg h the in comprehensible d Cllloroli=aliofl of Proza c addie/ion so ,hal Ill! can go

a/terlh e real problem. I' Corbll sier and his modernist /,.",""," '1993 -2002. gele.ill s ilv er prill' s. 60" x 126" ove rall . Im age c0 1lJ't es y of th e arti s t ~ photograph hy Ivall Dalla Tan a . .\1i1 a ll. Italy.



Bellefonte, Pennsylvania

Blackmail is an interactive, kin etic sculpture of the head of a black man, supported by a comple:!: mechanical structure that is triggered b.y a phallus-like level: When a viewer kisses or touches him, he seems to come to life, and the eyes, mOllth, and tongue are set into motion.

The piece e.1:amines the stereof:)pe of Aji'ican American male sexualit:.y: Building an ejJigy that embodies racist stereot:.ypes enabled me to con/i'ont ,,(yown internalized racism by exposing it visual!], Popular culture propagates the myth of black male virility, vilijjcing him and making him animal足 like. On the one hand media portra)"s the black man possessing extraordinw:y sexual powers, while on the other, this same image has been used against him to generate f ear and mistrust. Some common strategies for avoiding being stereotyped in this way include becoming either less masculine or superhuman (i. e. Michael Jackson/Michael Jordan). - B.C .L.

Billi e Cra ce Lynll. Bla ckmail. 19C)8. s lee l. pla s ti(' ~ il'OIl , string, 120'" x -18" x 7'1." , IlIIa ge CO UI'I C::iY or the al'li sl.


STEPHEN MARC Tempe, Arizona

Working digitally provides me with a way to creatively extend Ill)'" autobiographical/African Diaspora exploration .... The I'allle of this work is that it e.?:pands the way the Diaspora is photogmphicall)'" represented. IL e:rtends the range of viSlial stol:ytelling. The montages use digital technology in order to combine the realism and informative description ofphotography with the more additive and constf'llctive principles of collage, painting, and printmaking .. .. J\I~y

work is an eclectic blend where I weave together lI1y ideas, memories, and discoveries in order to enshrine the symbols and curios of III)' life into C1:rptic combinations that lake on a life of their own. It is a time-intensive working process where temporal, spatial, and social relationships become .fluid. Because of the suggested associations created by the various jllx tapositions, I often f eel thallhe images talk to me as /Ilu ch as I control and manipulate them. It is m)'" intention Lo creole m)'"thical images that combine a sense of implied narmtive with the presence of ritual. The montages address cultural coding as well as private enigma. They uSllal6' contain element;5 that reflect an African American idenli~y and refer 10 the comple.?: relationships wilh mainstream society: The 1Il0ntages funclion as visual crossroads. - Excerpted from Stephen Marc's artist statement on the Soul Searching sel·ies.

S I"I'I"'II Marl". lIoodslork/Ohio #25. from Ih c Plls saw· 011 th e Undergrollnd Railroad sc ri es. 200'112002. di gital illkjel prill!. 20" x 35··, IlIIage l'OIHl('Sy ()f du~ ani sl.

S lcph r ll \( a rc. lI oo ds/o ck/Ohio #.'1 1. frfllll Ih e {'a ..age 011 th e Clldl'rgrolllld Railroa d se ri es. 200112002. digital inkj cl prill!. 20" x :~ 5·· . IlIIa ge ('ollrlcsy of .-h e a rti si .


York , Ne w York

With the absence of l"im e ... derires ji "0 III an ollgoillg im'estiga t ion 0/ the inflllell ce 0/ (A lll erican) siglls . .~)"fllb o ls, alld icolls on cOllllllon social ideologies. In this piece. color lIIanipulates the icons in order to elllphasize tlw Il"q ,. in lI ,hich a descniJlioll call iIIlP ~)" Icu ge spectmllls 0/ ideologies oft cn prodllced throllgh lII)"th. lIIetaphol: and logic sil/lllit a n eoll s ~): Th e images 1I"0l"ell in trhite cOllsist a/ a dare. angel. clolld, sltilling light. lI'Olll ell S bathroolll sigll. ulld tlt e 11"0{"(1"liC'. .. Tlt e illlages II'oren in black cOllsist 0/ a grilll reapel: clolld. crall' or r(ft:en. Iwge rectangle (represelltillg lIight). lIIen :s batltroolll sigll , alld tlte lI'ord ·'tl;fACIC'. .. Tlte siT lchite and S /:l : black silhouettes agaillst


backgrou/lds are lIIillilllal. 1101 ill order to rej r-rcllce art. vut to identf{1 '

ItOIl' easi~r color (il1 this case) deJilles all illlagc. Ihth so lillie in/orlllatioll. (t black stol:I'book clolld v ecollles a represelltatioll vound up lI"itlt each l,iell'er s historicaltmlhs and Jictiolls. S illlple and elltire/l"ji'aglllellted el'ell ill th eir literal jimnillg (I!ach j iwne is different) , th e illlages' on~I' /"/>Ia tions/lli) 10 eaclt olher are 1171' jllxlaposiliolls velll"l!en p airs 0/ vlack alld II"hile illlages (c rall" & dOI·e) . Bilirring Ih e dislin clions betll 'eeu ji'ogllwnled icoll WId a p Olenlia l II[IITOlil'l!, I a l/ elllpl 10 identf!)' and lIIore itrip o rl a nt~J' chal/enge Ih e lilllil a lions o/ socia l stru Clures th a I prolllote dejilling objecls Ihrollgh a bin(ft:r slruclllre. This idea is /Ilrth er deL'elop ed Ihrough an addition al il/lage which consisls 0/ all th e icons (except th e tlVO th at represenl d(~r and night) togelh el; in )"elloll ' (prim w:r colol) and tllrqll oise (Iertiwy colol)' 0/ course when th e images are p ut logelh er Ih ey v ecome less distinguishable allel lII ore a vslract. Any common ideologies p roduced Ihrollgh Ihe icon (liJhich ma)" Iwee necer complele6 ' e.l·isled in any o/Ih e images) IWIIJ rely on allernaliL'e modes o/identffication. In addilion to color, needlepoint is II sed 10 reference craft and dOllleslic spaces as places II"h ere o ~iec l s h elp in th e d et'eloplll ellt 0/ I'CIllles. Delicale hearl-jilled imagelY alld hOlll e-slreet-hom e qllotes acl as passi!"e

Adi" "ill'·II. lIilh Ih e III,sell" " (~(Iill" "" (d,·'ail ). I!)!)!). I:~ illdh'idtl a lly fr amcd '1 ('(, (lIt' IH} ifll P :IIII · ) :o'. I W' x 1:! " (·ad t. IlIIa g l' ('O llrl.'S Y o f 11((' ani SI.

implelllenters 0/ ojien p ro blellla tid iocull!d velie.f.s .~p l ems. while hours 0/ inlricale Il eedle Iror/.; are ironicaI6" Ol'er looked. - A.\1.





Philadelphia, Pennsylva nia

Jam es A. Rose. Jr. ,

Co lored (de lail ), 2000 ,

ink on canva s pa per, 12 unils, 18" , 2 -1" ea ch .

IllIa ge court es y o f th e Hrti sl.

For some lim e now, James A. Rose, j,: has made drawn images of himself. While self-portraiture is typically not regarded as a mode for sociopolitical expression, Rose :S- subtle decisions governing point-olview, framing, and a host of other formal fac tors, turn this usually inert genre into an arena ofcultural scrutiny. Colored deals with an issue common to mCll~y black m.en in America toda)': Rose slates that the work grew out of "a f eeling of having no voice or being silenced in certain situations, one of those situations being my experience with the New Jersey police. ., fh~ play on the word "colored ~ describes what physically happened when the lights of the police cruiser hit him, but it also alludes to an earlier time in American histOl:Y when, as Rose says: "racial mistreatment was more 'in y our f ace. , [Discrimination} is a bit more subtle now, but just as hurtjitl. " Less literal, Untitled, is about p ersonal evolution. To describe this process, Rose's charcoal drawing of his chest is super足 imposed with symbols that sequentially become absorbed and integrated into the body. Rose sta tes: "The spnbols are changed, multiplied, and re-released as something new and different. The piece alludes to having certain ideas forced on .you, eventually absorbing and releasing them as y our own. Not unlike Aji'icans brought to this countl:Y and forced inlo new circumstances. " -Artist's quotes taken from a written communication 10/1 7/02 .

CLARISSA SLIGH New York , :'>lew York

I grew up black and/emale in [h e southeastern United Slates 0/ th e 1940s and 路50s. Since 1982, I have been constructing photographic narratioes around th e th emes 0/ identification, c1assijicalion , Clnd tran ~/orm a tion 0/ the human boc(y as related [0 gende,; race, and class.

111r 1V0rk is abolilihe process and problems posed by it as 1Il1ich as it is about the idea behind it. Using a variet.Y o/means including historical research, interviews, writing, and photography; f weave together images, mark makillg, alld te:l:t to e;tplore these elements within th e picture fram e. f am interested in th e spaces and lensiolls between/antasy and realil)" and individual ji'eedolll Clnd social convention.

- C.S.

C lari s~ a S li g ll ~

All n NiH!" Dar;s. 路199.... ink 0 11 g el 1"1 in silv er p rillt s. 10 '" x 22 " overall . I III age co urt es y o f th e artisi.




Atlanta, Georgia

An interracial relationship is a subject ever:rone seems to have ver:r strong opinions about veryfew people actually do it. Thus these opinions are based on stereotypes found in films, TV talk shows, magazines and cullural atlitudes. It is the on~r time I can think of when racist and liberal.s share the same derogatory term: ''il.lnglefever; ~ Then there's th e other e:l.路treme when people get teCtl:)" eyed and say, "I think it's so wonderful what you are doing. In a hundred years we'l/ al/ be the same color; ., We are not trying to change the world. These confessions represent a specific and real relationship. It is not depicted as ideal. It portrays the problems, af/eclion, humori and spiritualityfound in any passionate relationship. And it speaks of the extra love needed and found when you cross boundaries someone else created. -H.B.S. Father, I confess we love together in New Orleans. Together in the summer and in the late afternoon

when the heat tells you to do nothing. Not sightseeing or sex. Not even the long walk to the kitchen for another beer. Together we lay in bed nude talking lazily of the ghosts who live here. In graveyards or behind ancient \'",indows or in hidden courtyards past locked gates. They appear just as you look away and sometimes in the backgrounds of photographs or only for a moment when you hear certain sounds.

Uke distant music and laughter the tapping of rain or ships on the river. And in the quiet heat I stare down at her body. Her black hair matted close to her skin. Her brown skin wet with sweat. Her wet nipples curving soft. Her soft hand moving a fan across her face and sometimes mine.

I reach out and touch her father. She's real the opposite of ghosts.

Robe r! B. S tewart, Confessio ns #I 19, 1998, Iri s I'l'inl, 18" x 1-t 路' . Im age co urt es y o f

r-I lC UJ'li s1.


Li sa McGaughey TULll e, AII.l:ious Forebodings (detail ), '1999 , collage .,lId er glass , 3 " x 3'" (a rea of detHil). Ima ge co urtesy of th e art ist , photograph by Mik e Je llse ll , Allallt8 ~ Georgia.

MX artistic practice can perhaps be best described as conceptual. Having studied painting, photograph)" drawing, and art histolJ' in addition to a rigorous course of liberal arts, I have found that a research-based interdisciplinwy approach shapes IIlX wor/c Art is a wax of thinking about the world, and mx studio is a place of meditation. Often, I make images based on other images, such as old photographs or illustrations. Th ese are emotional explorations ofthe f eelings and ideas which underla), the original images. For me, the p ersonal is political. The insights I have gained into gendel; race, and class stem)i'om m)' own exp eriences. I have alwaxs been concerned with the emotional impact of the Iwger circumstances on individuals. Thematically; I have worked primarilx with a f eminist perspective. The relationship between women and men is an ongoing source of thought. As someone who grew up in the South, making work which reflects the comple:r:ity of that e:tp erience has become increasingl), important to me. Thinking about the relationship between p eople of African and native descent with those of European descent, as well as the sxncretism of those cultures, unravels mx own identity: - L.M.T.



Willi -Kennedy, Deborah . Rej7ections ill Black: A Histot)" of

Black Photography. 1840-Present. W.W. i\'orlon, New York .


200 0. Sco tt. Joy<.:c a nd Ja net I. \ <leCa ll. ,. top Asking. Wc Exis t,"


The 'ociclY for Contem porary Gra fl, Piusburgh,

199-+ , Ph .D. , Em ory Uni versity, Ad a nl a . Georg ia

Penu-ylva ni a. 1998.



2002. Delectables, T he Dell a Cen ter, Winston- Sa lem. I\orl h Carolina


2001 , Delights. Sa ndler Hu dson Ga llen ', Ad a nta , Georgia

198 1, MFA. Sa n Francisco Art InsliLUl e,

2000 . The Flip Side of th e Mirror. Ga ines"ille Gollege,

San Francisco. Ca lifornia

Ga inesv ille. Georgia

1966, BA, ;\OlcGill Uni versity, MOnLrea l. P.Q ., Cana da

1999 -2000, Wh en DlIly Whisp ers 2 , H a mm onds Ho use Ga lleries. Atla nta, Georgia



Madrid. Spa in

:l002, Transitions , Museum of Co nteJllpora rv Arl of Geo rgia.

2 00 I , Tlt e Mellning uf Bialy , video insta lla ljoll, HOlel Crislal,

2001 , Interference, "ideo screening a t Musco Ik ina Sofia.,

Atl a m a

Bia lvstok . Pola nd

:l002. IICP Annit;ersw )" Show, HousLOn Cenl er for

2001 , Walk This lVay , video ins tallal ion, \ 'Iarket Squa re,

Photogra ph y, Houston, Texas

\ 'Iiddlesurough., uK

:l002. FOllr Score and Five, Gniversil y Gallery.

2000 , The Terlllinal Salon , video projcction ill coll abora ti on

University of Delawa re, \'ewa rk , Dela wa re

wilh ./oa ll Ilenrv, Sta ten Island Ferry Te rminal Build ing,

2002., New Harlelll Renaissance, Indi a na polis An Cenlcr,

New York


2002, /nt erj'erence, Urban Drifl , Bcrlin , Germ a ny

.\1useum of fin e Arts, HousLOn, Texas

2002, Interference, Cite des Ondes , Craig's Pump I louse,

Iligh \1useurn of Art, Atla m a, Georgia

.\1onlrea l, P.Q .. Ca nada

Minnesota \ 'Iusc um of Art. SI. Pa ul , Minnesota

2 002, '/'lie BIlle Danube. Vi deoMed aya, Noyi Sad, Yugosla via

Uni versity of Dela wa re, \'ewa rk , Delmn ,re

2001 , J-/Xbrid Dwellings, c ura ted by Denise Carvalho,

Alba ny i'I'luscum of Art. Alba n \', Georg ia

Arsena l Ga llery, Bi a lystok, Pola nd

I-ia nullonds House Ga ll eries, Atlam a, Georg ia T he Tubman Museum, \ 'Iacon, Gcorg ia


King a nd S palding, Atla nta , Gcorg ia

FOJlds J'egiona l d 'a rt cOlII.crnporaill des Pa ys de la Loire

Coca Gola Enterprises, Atla nla , Georgia

(FRAC) , Clisson, france

f"lu se um of Contempora ry Art of Geo rgia , Atlant a

Group Intcrvcn tion Video. (G .1. V.) , Mourrea l, P.Q.. Ca rmda

Ha rtsfi eld Interna tiona l Airport, ALl a m a . Georgia

Hc urc Exq ui se. Lillc. Fra nce Art Ba nk of Ih e Ca na da Council

SElECTED BIBLIOGRAPHY Britton, Crystal. African Alllerican Art: 'f1te Long Struggle.

SouLlleast \ 1useum of Ph otograp hy. Daytona Beach. f lori da V-Ta pe, Toronl o

New York: Smithm a rk Publishe rs, Ltd., 1996. Hobinson, Jonryl c, et. al. Bearillg 1I't'tness: Contelllporw)"

African Alllerican Artists. I\ew York: Hizzoli International Publications, Inc.. 1996.

SELECTED BIBLIOGRAPHY Wasilews ki , Ma rek . " Hybrid Dwellings'''" Springerin , p . 66 -6 7.. February, 2 001.

Fox, Lo rna SCOLl. "La \1irada Poli cdri ca, "

D Periodico del Arte, Jun e, 2001. Grcgorczu k, Agni eszka. v'll vbryda




2002 . Disapp earing Places. Die Photograp hische Sam ml ung, 0

t)'siacll twa rzach,"

BilaL)1l/stokll. Septem ber 4. 200 1.

Sichel. Berta .. " Perry Ba reL." Flash Art, p. 96, Ja n/Feb 1999.

August Sandel' AJ'chiv, SK Stiftllng Kul tu r, Co logne, Gcrmany ; a lso Pa lais des Bea ux- Arts, Bru ssels, Bclgium (200 1)

200 1, William Christenbel'l:r: SClllplllre, Ph otographs, SELECTED COMMISSIONS, AWARDS , GRANTS , ETC.

and Drawings. Pa ce MacG ill Ga ll ery, Ncw York . NY.

2000 . The Terminal Salon., Sta ten Isla nd Fcrry Tcrm in a l

2001, Willialll Christenbel'lJ" Hem phill Fine AJ'ls,

Buil d ing. sponsored by :'-lew House Gent er for Cont cmpo ra ry

Washington , D.C.

An in

co ll a b o ra t~i on

wi th the Ncw York City Departmem of

Tra nsporta tion a nd the !\ew Yo rk Citv I-lousing Aut.hori ty. S la t~e n

2001, Changing Landscap e, The SOllrce Revisited, T he Krecger \1usellm . Washington, D. C.



2002. In Response to PLace: Photograp hs from the Nature Conservancy's Last Great Places, Corcora n Ga ll ery of Art,


Washing ton, D.C.

2001 , " IFA, Southern Illinois Univcrsity. Ca rbonda le. Ill ino is

2001, Ovemightto Many Cities: To urism and 'fralie! at flome and Awa) ; T he Photographcrs' Ga llery, London, England


2000, Open EildS/l'v/oMA , T he Muscum of Modcrn Art, New

2002, The Lawrence Welk Sessions, Ga rden Fres h,

York , New York

Chicago, Illinois

1 99 ~ ,

2001 , How White Are YOll?, Surplus Space, So uthel'n Illinois

U ni ve rs it~"

Ci"il Rights Now, Soulheastem Center/or

Contemporw :r Art , Win ston-Salem, !\orth Ca roli na (to w')

Carbonda le, Illinois

2000, S TOOP, Verge lle Ga llery, Ca rbonda le, Illi nois


1999, Recent Work, Art Al ley, So uthern Illi nois University,

Art Institute of Chicago, Illinois

Ca rbonda le, Illinois

T he Ba ltim ore Museum of ru路t, Ma ryla nd T he Clevela nd Museum of Art, Ohi o


T hc Corcoran Ga llery of Art, Washington D. C.

2002, Division, Open- End Ga ll ery, Chi cago , Illin ois

High \ 'ltlseum of Art, Atla nta , Georgia

2000, Aesthetics and Ethics COIl erence, Depa rtment of

Intcl'I1at.iona l Center for Photog rap hy, :'-lew York , :'-lew York

Phil osophy, Southern Illi nois

Museum of Fine ru路ts, Houston , Texas

niversity, Ca rbonda le, Illi no is

20 00, 22 2. 7, Ga ll c r~' 203, Memp his, Tennessee

Museum of Modcrn Art, Ncw York , Ncw York

2000 , Good Luck Glone, Highwirc Ga Ucry,

Stedelijk i\hl seum , rullStcrdam , Nctherlan ds

Philadelp hia, Pennsylva ni a

Whi tney Museum of America n ru路t, New York , New Yo rk



Lan ge, Susa nne, Allen Tu llos, a nd Claud ia Schu bert. EDUCATION

William Christenberry Disappearing Places, Richter Verl ag,

195 9, MA, C niversit.y of Alabama , Tusca loosa . Alabama

20 02.

1958 , BFA , Cn ive rsity of Alaba ma, Tusca loosa, Alaba ma

Ka linovska, Mil ena. William Christenbel'lY: Changing

Landscap e-The Source Reliisited. T he Kreeger Museum ., Washington, D.C., 2001. T impa no, Annc. William Christenben }': A rchit ectlJre/A rch e~)pe,

DAA P Ga ll eries, Coll ege of Design,

Architect urc, Art. a nd Pla nning, Cnivcrsity of Cincinna ti , Cincinnati, Ohio, 2001 .


Wilner Stack, Trudy. Reconslrucl:ion , Th e Art oj WiLLiam

Christenbe,.,y, Cen ler for Creative Photography and niversity Press of .Vlississippi, Tucson, Arizona, and Jackson, \1iss issipp i, 1996.


2002, Faculty Development Grant., Art Deparuneill. Western Michigan Uni versity., Ka la mazoo, Michigan 200 1, Resea rch Development Award. Western Michigan University, Ka lamazoo, Michiga n


1999, Gu ilford Handcraft Center Awa rd, Gu ilford, Connecticut


1999, World Studio Foundation Scholarsh ip,

2000, \ 'LFA, Rhode Island Schoo l of Design, Prov;dence,

l\'e\\' York ,



Rhode Island 1997, BFA, Cornell Cn iversity, Ithaca. Ncw York




2002. Me Enliende, Urban Institute for Contemporary Arts ,

1974, MA , University of New Mexi co, Albuquerque

Gra nd Rapids, Ylichigan

1972, BFA., Wayne State University, Deu'oit, \ 'Ii chiga n

200 1. Amalgamated Signifiers, Space Ga llery,

Ka lamazoo., Michigan


2000 , ,'vIi.1:ed Blessing, Sol Kofler Ga llery, Providence,

1995. 01 fla-Kalon (Badge oj Shame: New Work) ,

Rhode Island

;Vla rcia Wood Gallen ', Atlanta, Georgia

1999, Amalgamated Signifiers, Ylarket I-louse Ga llery,

1993, /-/orlus BOlanicus Unique, Dmwings 1990-1992,

Providcnce, Rhode Island

ALianta Bota nica l Garden , Atla nta, Georgia


Delaware County Com muni ty College, Med ia , Pennsylvania

1990, Paintings and Drawings, 1986-1990, 2002, I f! Sa lon'y Coloquio /ntemational de Ar/e Digital,

1987, Natural Studies, Georgia State University Art Ga llery,

Cenu'o Cul tural Pablo de la Torricnte Brau, Hava na , Cuba

Atlanta, Georgia

2002 , Reactions, Exit Art,


York ,


York. Exh ibi tion

conceivcd by Exit Art co-founders and Directors Jean ette


Ingberman and Papo Colo

2002, Re-11ision, invitational, University of Texas at

2002, Sight, Site, Cite, GalcI'ia de Arte Fotografico Mel iton

San Antonio, San Antonio., Texas

Rodriguez, Instituto de Artes de Medellin, Medellin , Colombia

2001, Book Unbound, cmalOr: CatllY Byrd,

2002 , All Small, Eyedrum Art & Music Ga llery, Atlanta,

Agnes Scott College, Deca tur, Georgia

Georgia. Cw'ators: Lisa Alembik, Rachael Buffington, and

2000 , H,ypnolic Post: Atlanta Abstraction Now, curator:

Richard Gess

Michael Pittari , Swan Coach Hou se Gallery, Atlanta, Georgia


Wi.nston- Sa lem, North Carolina

1992, /-/01 and Cold Abstraction , in vitationa l, Sa lcm Collcge, Library of Congress, Wa shington , D.C. Instituto de A.rtes de Medellin, Colombia Photo Americas, Portland, Oregon


High Muse um of Art, Atlanta, Georgia YluseuIll of Contemporary Art of Georgia, Atlanta


Green, Roger. "A Quarter Centu ry: UICA Celebrates 25th

Anniv e rsa rv, ~

Th e Grand Rapids Press, Februa ry 24 ,

2002, p. F4. Suit, Amy. o' ExJlibit Explores Link Between Language, Racism .'" Kalamazoo Ga:;etle, October 28, 2001 , p.C5, illus.

Hunt Insti tute for Botanica l Documentation, Ca rnegie Mellon University, Pittsburgh, Pennsylvania Atlanta College of Art Artists Book Coll ection , Atlanta, Georgia The University of New Mexico Museum, Albuquerque United States Information Agency, Washington, D.C. Tarnarid Institute of Lithography, Albuquerque, New Mexico



2001 . Baudouin Fo un dation u S Cu ltura l

1997, Individual A.rtist Grant, Ciry of Sa vann ah Depa rtmenr

Excha nge Fell owship

of Cu ltura l Affa irs, Sava nna h. Georgia

1997, Georgia Women in the Visua l Arts

1996, Commi ssion work fo r 1 7 days

0/ O(F npic Art , to coincide

1995, City of Atl a nta BLU'ea u of Cul tura l Affairs:

wi th the CenterUlia l Olvm pic Ga mes, Hartsfi el d In tern ationa l

Arrist Projcci Gra nt

Ai rport, Atlanta , Georgia

1988. Southern Arts Federation/ '\"ational Endowment for

1993 , In divid ua l Ar tist Grant, Georgia Co uncil for m e Ar ts

the Arts Regional Fellowshi p

1986. Artist Ini tiated Gra nt for solo touring show, Georgia Co uncil of the Arts


Book Unbound.. cata log ue, exhibition at Agnes Scott College.. JAB 1.5. The Journ al of Artist's Books. Atl anta , 2001. l\eidha rdt, .Ja ne E. ed itor. Cross Sections. work by Atlama Coll ege of Art Facuity, ca ta logue, Atl anta. 2000. Bra nh am, Dr. Joan R. Ot Na-Kalon (Badge o/ Shame),


Hamil ton, Lynn. "Natm e/ C,L1ture/Profiti Loss '" (review),

Arl Pap ers, Ja n.lFeb .. 1998, p . 49, illu s. Patterson. Tom, " Natura l Selections.." Charlotte Observer. April 14, 1996., p . 2F, illus.

Nell' IVork: l"Iarcia R. Cohen, brochure, Atla nta , 1995 .

Harper, Glenn , " International

Med ina , Angel a nd Joyce. Na tural Studies , brochure,

Art Pap ers, March-Ap ril 1996.

Nexu s Press, Atlanta , April 1987.

La n ds cap es ~

George, Leigh, c'Ha rry DeLorme:


C i\~ liz e d Pl eas ures ~ ( re ~ e w ) ,

Art Pap ers, Ap ril/May 1995, p . 45 -46, illus.


1985, MFA, University of Georgia, Athens


1982, BFA , University of Georgia, Athens

1987, MFA , Ca lifornia Sta te Uni ve rsitv, Los An geles 1973, BA, California State University, Long Beac h


1996, Solo Exhibi tion a nd Coll aborative Insta ll ation,


Sp ili t Sq uare Center for the A.rts, Charl otte, North Ca rolina

2000 , Blackalc/w , Regina ld Ingra ham Gall e,:', Los Angeles,

1994 , Civilized Pleasures, Ca rri age Work s Ga llery,

Ca liforni a

Atla nta, Georgia

2000, Iconography , Sa n Jacinto College, San Jacinto , Ca li fornia

199 1, Faunal Maller, insta lla tion, ARC Ga llery/Raw Space,

1998, Project Row Houses, Houston, Texas

Chicago, Illinois

1997., Iconography : The Banner Series, Los Ange les SOll thwest

1990, Georgia , 'vl un icipa l Ga llery/ Ar ts Exchange,

College, Los An geles, Ca lifornia

Atl am a, Georgia


2002, HislOI) ' and Myslel) ', Steve Turner Ga ll ery,

2002, El Tajin, flo Tempore, in coll abora tion wi th Rac hel

Beverly Hill s, California

Green and Alva ro Brizucla Absa lon, Musco de Zona

2001 ., Black/ace/White/ace, Lew Allen Contempora ry,

Archaeologico de EI Tajin, Veracruz, Mexico

Sa nta Fe, New Mex.ico

2001 , A Sense o/Place: Continuil) ' and Change in the New

2001 , Rep resent, Kellogg Ar t Ga llery, Ca l Poly Pomona ,

South , Gertrude Herbert Institute of Art, Augusta, Georgia

Pomona, Ca lifornia

1997 , Na lurel CullurelProjitlLoss, two person exJli bit"ion and

2001 , Banned & Ba rred, BC Space Ga llery,

coll abora tive in sta lla tion., School of Visua l Arts. Sava nn ah..

Laguna Beach, Ca li fo rnia

Georgia 1994 , Th e Red Clay Survey , Huntsvill e Museum of Art. \-Iunts \~lI e,

Alaba ma



Arm itage .. Dian e. " Blackface/Whitefa ce," review,

TIlt; Maga= ine. 1\ov.. 2001.

O'Su llivan., :I'licha ei. '路';vlourning. Slill a Work ill Progress."

Th e Washington Posi. Sepl ember. 13,2002. Wee kend Seclion , p. 5 0, illus.

Knarr. Devornh L. "'Hepresenl lakes look al Ourselves;' review.. Th e Press -Ellie/pris e. Oct. , 2001. :\oles. Pa m. '. Arti sts,. showcase attempts to slereo types." review, Los Angeles Tilll es, Sep!. , 200 '1.


Juror's Award. Digi/al Salon. juried bv Jack Rasmussen, Monlpelier Cullural Arts Cenler. Laurel. Maryland

Randall. Tcri Thomson. " Blackface/Whi lefa ce.... review,

Sonia Fe Nell' lv/e.l路icon. Scp!. , 200 1.






Maryland InslilUle Co llege or Art, Ba ltimore

1984. BA. Uni vers ity of Kenlu cky. Lexingron

1978, ."\fA . Stale Li niversiry or 1\cw York al ~ ew Paltz,

"iew York


1975, BFA . University of lIIiJlOis al Cha mpa ign ,

200:3 , Taking nigh/, Berm a n Museum of Art,

Lirba na., Illinois

Collegeville. Penn svlvania

2001., nigh/ , Charles E. Cu lpeper Ca ll ery.,


Hcm'v Streel Seltlement. New York . ]'I;ew York

1992, Linda I-Iesh , .J oan Robey Ca llery, Denver, Co lorado

1999, Reading Ihe Leho, Dance Thea ler Work shop Callery,

1986, Linda Hesh , SlI san Cummins Ca ll erv,

New York . New York

Mill Va lley, California

1992. Indigenous Ironies., So l i" lednick Ca llery,

1985, Sirange bill Trll e, Convergence Ca llery, "iew York ,

Un.iversity of Ihe Arl.s, Philadelphia, Pennsvlvania


2001 , Digilal: Prin/making Now, Brooklyn Mu seum of !\J路t,

2002, lVilness and Response: Seplember 11 Acqui.$i/ions al

New York

Ihe Librwy of Congress, Washing ton , D.C.

2000 , Chance F"lllre, P60 Call ery, Artpool Art Research

2002. 1I'laller as Prolagonisl, juried by Jess ica Stockholder,

Cent er, Budapest', Hunga ry

Crea live Arts Work shop, 1\ew Haven, COIUlecticlIl

1996, Pulp Fie /ions., Laguna C loria AJ'l Museum ,

2002, All Media ]lIrieel by Claudia Could,

Austin , Texas

Ellipse Arts Center, Arlington , Vi rgini a

1995. Reinl'enling Ihe t,l/blelll , Yale Universily Arl Call ery.

2002 , Rega rding Beauly, juried by Deborah Willis,

New Haven , Conneclicut


"iew York Publi c Lib ra ry

Library of Congress, Washinglon. D. C.

Euro-As ia Inves lm ent Iioiding Company. Istanbul

D.C. Commission for Ihe Arts and Hllmaniri es, Wa shington, D.C.


2001. Finaiisl' in Works on Paper. Pew Fell ows hip in Ihe Arls SELECTED BIBLIOGRAPHY

Zimmer. William . "'When Humble Ma teria ls Interact; '"

The New )'ork Tilll es.. .June 9. 2002 !\J'IS Section , p. 11.

2001.. Fellowsh ip in Photography.. Pennsylva nia Counci l on Ihc Arl s 1996, Cranl in Phol ogra phv, T he Leeway Foundalion, Philadelphia, Penn svlvani a

1994, Fellowship in Screenwril ing. Penn sylva ni a Council

0 11

199-+ , Cra rH in Photography.. Art

Da vi d. Jose lil. " Ring of Fire: ItHen 'iew with j oe Lewi s and Yong Soo n Min ." Arl JOllrnal. winter 1998. p. 87 -89 .

the Arrs ~"I a tl e rs .

Aul t. .Iulie. Clllilirol £Conomics:

In c..

lIis l o rie.~ /ro m

Ih e

Allem alil'e ;I ris MOI'emenl. N YC. ca ta log, T he Drawing

.\lew York , \"ew York

Center. Ne w York. 1996. p . 37. -+ 3., ilill . Kra ne. Susa n. Eqllal Righls & Jllslice: Rejleclions on Righls.


Lipkin. j ona tha n. Digila f Arl and Design: Pholograph) ·. Abrams Press., 'J ew Yo rk , 20 03. illus.

ca ta log. Th e Cenl er for Afri ca n America n Hislory & Clli ture. Smithsonia n In stitulion, Washington., D.C .. 1995. p .10. illus.

Th e IIll1iOlIl and 11101)" Ra ie//", The Co llege of William and \-I ory Press, Virginia. p. 98, 100. vol. 40. 2002, illus.


"i\ew York Digita l Sa lon," Leonardo.. \1.I.T. Press. \ 'lassaehll sel1 s. p. -+:34 . vol. 3 2. i\o. 5. OCI/Nov 1999. illus.

/lelhinking MOI:r i.51I1. A JOllrnal of Economics. Clllilire. and Sociel) : li niYersity of Massachusells, Amhersl, p. 109 -1 2 1.


1989. :'I'l rA. Sa n Fra ncisco Art Instillll C, Sa n Fra ncisco. Ca liforni a

1.- of . Vo l. 8 ::3. Fall , 1985. illus. SELECTED SOLO EXHIBITIONS


2002. Inn ards. Buffa lo ArlS Studi o.. Buffa lo, New York 2000., Acquired Idenlil),., Firsl St reet Callery.


Eureka , Ca liforni a

1989. "IFA, \ 'Ia ryla nd In sti1.Ute Coll ege of Arl ,

1994 , Z hejia ng Academy of Fine Arts, Chin a


2002, Animals ill Arl . All egheny College.,


2001 . Memories. Layers... , Th e Sub Station, Singa pore

\ ·Iead vill e, Pennsylva ni a

2000, PholoA lchemy , Shamdin Art Ga llery. KUl ztown

200 1., S troke of Illslallalion, Arlinglon An s Center.

University of Pemlsylva ni a

Arlington, Virginia

1997 ., ClIlllIm/.e.r peclalions@bigbrolhel: org , Center for

1999, Lin colll Cenler Oul-o/ Doors , Lincoln Cen ter.

Contempora ry Art, £ 1 Paso, Texas

:'<lew York , New York

1996 , Vila! Visions, Com cmporary Arl s Ce nl er,

1998., Lab)'rinlh: A Da)' of Ih e Dead £l:hibilioll.

Cincinna ti , Ohio

Yerba Buena Center for the Arts, San Fra ncisco. Ca liforni a



2002, Mixed Feelings . Fisher Ga Uery, University of

Huntington, Hi cha rd. " Life Slages: Childhood a nd

SO llthern Ca liforni a, Los Ange les , Ca liforni a

Adulthood in Two Media, Two

2000.. Il1ade in California 1900- 2 000., Los Ange les CO llntv

News . Septem ber 9, 2 002.

A pproa c h es, ~

Th e


!'vlu se um of Art , Los Angeles, Californi a

1999. Urban MYlhologies: Th e Bron't Represenled S in ce


Ih e 1960... Bronx Museum , New York 1997, Un bllill Soulhem Califom ia. Cha pm a n


Orange, Ca lifornia


1978 . " IFA , Tyl er School of Art. Temple University, Phil adelphia. Pen nsvl va ni a


1976, BA, Pomona College, Cla rem ont. Ca lifornia

Leclerc, Gustavo a nd Mi chael Dea r. Mixed Feelings: Arl and

Clllilire in Ihe Poslborder Melropolis.

ca l a l o~.

Univcrsity of

Sourh ern Ca liforni a. Los Angeles, p. 22-23. 6 7, 2002. illu s.




2002. The Photo Passage at Harbourfront Centre, Toronto

1998/91/88, Artist f ellowships, Photography,

2001. Art and Cu lt m e, downsta irs ga lleries,

Illinois Arts Council

Hollvwood , Florida

1996, Aa ron Siskind Fo undation Fellowship,

2001. Henry Street Settlement. Abrons Art Ccnrer,

School of Visua l Arts ,

Cha rles E. Culpeper Ga llen',

~ ew

York ,



York ,



1996., Ke~'note Speaker, Society for Photographic Education,


1998, Houston f otofest, Commun ity Art.ists Collective,

Southeast Regional Conferencc, Florida

Houston , Texas

1995, Seagram's Africa n America n Perspectives


2002 , COils/ella/ion: Ma rking CPW's First Twell/)"-ji/Je Years ,



Cenler for Photography at Woodstock, Woodstock, New York

2001. Paradise ill Search oja FU/lIre, Par/ 1&2, CEPA Gallcrv, Buffalo,


York (a Inulti-site, 2 part exhibi tion

EDUCATION 2000. MFA., Ca lifornia Institute of the Ans,

of di screte solo proj ects linked to investigatc travel and

Va lencia, Ca lifornia

touri sm as significa nt cultural practices) . Exhibition

1997, BFA, University of Ca lifornia at Berkelev

traveled to rhe Atlanta Contemporary Art Center, Atlanta., Georgia , (2002).


2001, Commilled

2002, The Brews/er Project, Brewster, Ncw York


/h e Image: COlltemporarY' Black

Ph%graphers, Brooklyn Muscum of Art.,

2002, Irollic/lcollic, The Studio Muscllm in Harlem,

Brooklyn, New York

New York , New York

2001., Americall Dream(s}: allces/ors alld diasporas,

2002, Friends and Family, Lombard-Freid Gallery,

So utheas t Museum of Photography, Daytona Beach, florida

New York , New York

2002 , Material /Vorld, Susq uehanna Art Museum , SELECTED BIBLIOGRAPHY

Willis, Deborah and Ca rla Williams . The Black Female

Harrisburg, Pennsylvania

2001 , Frees/yle, The Studio Muse um in Harlem,

Bod)": A Ph%graphic Histo/J: Templ e UniverSity Press,

New York , New York

Philadelphia, 2002, p. 184-185, il\us.

2001. All Hallds all , Pelham An Center, New York ,

Head-Millstein, Barbara , editor. Committed to /he Image:

lew York

COIl/empormy Black Photographers, Brooklyn Museum in

2000, Si/egeis/, Porter Troope Gallery, San Diego, Ca liforn ia

association with Merrell Publishers Ltd , London , 2001 ,

1999, CalArls Postal, Studio 9, London , England

p. 148-149, illu s. Willis, Deborah. Revelatiolls ill Black: A Histol:Y oj Black

Ph% graphers, 1840 - /he Present, \V.\V. Norton & Company, 'ew York , New York and London , England, 2000, p. 194-5, 195, 299, 328 -30, ill us.

Ph%graphy's MIII/iple Roles: Art, DOCllmell/, Market, Science, Thc \'[uscum of Contemporary Photography

GRANTS, FELLOWSHIPS, ETC. 2001 , Whimey Museum Independent Study Program,

l\"ew York, New York 2001 , Van Lier Fellowship, l\"ew York , New York 2000, Philip Morris Fellowship , Santa Clarita, Ca lifornia 1997, Alunmi Schola rship , UC Berkeley, Ca liforn ia

and Columbia Co llege, Chicago, distributed by Art Publishers, New York , New York , p. 98, 99, 116, 199, 225, 227, 240, illus.


Si rmans, Franklin. "' Friends & family," Tim e alit, ~e w

York. 2002.

Foster, Tonya. v'( Re)Direct(ing ) Light.," FYI/New York Foundation for the Ans, Summer 2002, p. 6,7.

Jon es., Amelia, "'the post-black bomb,"

Tellla Celesle, 2001 , p. 52 -55. Cotter, Holland. "'A Full Stuclio Museum .... ·'

New York Tim es, :Vlav 22, 2001 , p. 55.

Schira, Ron, "' Freyberger Gallery Explores Iss ue of Race,"

Th e Reading /:.clgle I Reading Times. Read ing, Pennsylvania , February 4., 2000, p. W5 -6, Donohoe, Victoria , "'34 Artists from 6 Srates Star in Delaware Exhibit,"" The Philadelphia Inquirer,


Philadelphia , Pennsylva nia , July 18, 1999, p. MD04.


Perspective," First ill the Heart is the Dream (catalog) ,

1992., MFA , Tvl er School of An , Temple University,

Philadelphia Art Alliance, Pennsy lvania, 1993, p, 7-13.

Nelso n, Naomi , "" African-American Art: A Philadelphia


1999, Kutztown University Resea rch Grant,

2000. Penn Srate :Vlont Alto, Mont Alto, Pennsvlvania

Kutztown , Pennsylvania

1999, Multicultural Center, 'niversity of Arka nsas.

1998, Works on Paper Gmnt, Penn sv lvania

Favetteville, Arkansas

Council on the Arts


of Pain ting and Sculpture, Skowhegan, ,>'Ia ine

2001-02 , The Visible Spirit, Printed Image Galleries,

1990, Hunt Manufacturing Collabora tive Print Award,

Brand~'\\in e

Philadelphia, Pennsy lvania

1996, Camille Cosby Hank s Award, Skowhega n School

Print Workshop , Philadelphia, Pennsylvania

2001 , Prinl Progressions: Ty'ler Prinlmaking Alumni £7:hibilion , Tyl er School of Art, Elkins Park, Pennsylvania


2000 , Work Now, Artists' Museum , Washington , D,C. 1998, Challenge al 20 Celebration £7:hibilion,


Dene Louchheim Galleries and the Philadelphia

1999, MFA , Howard 'niversity, Washington, D.C.

Museum of Art, Philadelphia, Pennsylvania

1973, MBA , University of Pennsylvania , Philadelphia, Pennsylvania


Philadelphia IVluseum of Art, Philadelphia, Pennsylvania


African American Hi storica l and Cultural Museum,

2002, University of Maryland , Baltimore County, Maryland

Philadelphia , Pennsylvania

2001 , Clarissa Sligh: lake in Transition from Female to lvlale,

Allellto"'l Art Mu se um, Allentown, Penn sylvania

Visual Studies Work shop, Roches ter, lew York a nd traveling

Hunt Manufacturing Company, Philadelphia, Pennsylva nia

2000, Marv H, Dana Women Arti sts Series, Rutgers

Corridor Press, Inc" Oneonta, New York

niversity, 1\ew Brunswick, New Jersey

Philadelphia Free Library, Philadelphia, Pennsylvania

1997, Edward Bannister Gallery, Rhode Isl a nd College Art

Skowhega n School of Painting and Sculpture,

Center, Providence, Rhode Island

Skowhega n, Ma ine Virginia Commonwea lth University, Richmond , Virginia


Tyler School of Art, Templ e

2002 , Ph%graphy- and Ih e American Scene: Visions


Philadelphia, Pennsy lvania

of Passage, Museum of Photographic Arts, San Diego Ca liforni a (book ),


Soza nski , Edward 1. " Print Show Celebmtes Artist's Influence," Th e Philadelphia Inquirer, Philadelphia,

2002, Beggars and Choosers: J'v/otherhood is Nol a Class Priliilege in America. traveling exhibition opening at rhe Birmingham Civil Rights Institul e, Alabama

Pennsylva nia , December 28, 2001, p, W34,


2001 . Th e Post is S till Here. Snug Harbor CulLrua l Center,

1997. '/}'agie Wake: The Legacy of Slm'elY and the African

.\fcwh ousc Cenl er for Con tempora ry Art.

Diasp ora in Conlemporw:,- American Art , :-"lidcUeton

Sla ten Isla nd. \"ew York

Mc!\'lill a n Ga llen ', Spiril Sq uare. Cha rl otte, North Ca rolina

2000. Picturing the l'dodem Al11o;;on, T he New /I'lu seum ,

1996. Gone with the Wind: The Fabrication and Denial of

.\few York. i\ cw York

Sou/hem /dentit): juried show., Citv Ga llery at Chasta in . Atla nta, Georgia


1995, I" 'e Got a Secret.. ., Thank Yo u f or Sharing.. .,

Th e Mu sellm of .Vl odcrn Art. New York , i\ew York

juried sho\\'. Atla nta College of Art, Atla nta. Georgia

\"a ti ona l Ga llery of Auslrali a. Canb erra , Auslrali a The Corcora ll Ga llerv of An. Washinglon, D.C.


T he Inl ern a li ona l :vluseum of Ph otography a nd Film , Hochesler, \"cw York


Th e .\1u scum of Fin e Arts. Houston, Texas

1974. BA, .\few Coll ege.. Sarasota , Florida

Th e ,' \ali ona l Museum of Women in the Arts, \\ 'ashing lon, D. C.


The Schomburg Center for Hesca rch in Black Cul tu rc,

2001 , inheritance., Sa ndler Hudson Ga ll en ', Atla nta, Georgia

T he .\few York Pu bli c Lib ra ry

1996, her p lace in the order of things, Sandler Hu dson Ga Uery,

Mu se um of Fine Arl s, Boston, Massachu sel.ts

Atla nta. Gcorgia

T he Victori a a nd Albert Muse um . London, Engla nd

1994 , Recenl Work, Sa nd ler Hu dso n Ga llery, Atla nta., Georgia


Alba ny. Georg ia

1989, Th e Vindication of Lilith , A l ba n~' Museum of Arl , Willi s.. Debora h a nd Ca rl a Willia ms. The Black Female

Bod)": A Photographic HistOJY Temple University Press,


2002. Phil adelphia . p. 19'1 , 195.

2002-2003, Georgia Triennial (tra veling): 2003, Albany

Hall , rl a nd Ma rk ScalI'. Different: Con/elllporw)"'

Muscum of Art, Al ba ny, Georgia ; 200:3, Telfa ir Muse u.m of

Photographers and Black Identit) ; Pha idon Press. 2001 ,

Arts a nd Sciences, Sava nna h, Georgia ; 2002, Maco n Museum

London a nd New York , p.73-76, 158-160.

of Arts a nd Scien ces, Macon, Georgia; 2002.

Willi a ms, Ca rl a. "' Read in g Deeper: Th e Legacy of Dick and

City Ga llery East, Atla nta , Georgia

.l a ne in the work of Cla rissa Sligh." Image, George Easlma n

Retreat: Palimpsest of a GeOJgia Sea Island Plantation (an

House,, i\ew York , Vol. 38. #3/ 4, 1995.

ongoing collaborative project a mong a rtists a nd hi storians, primarily Mela nie Pavich-Lindsay a nd Lynn Ma rshall颅


Lillnem eier): 2002, T he Atlan ta Contemporary Art Center a nd Nexus Press, Atl a nta, Georgia; 2001 , Clark Atla nta


Uiliversil'y An Ga lleries, Atla nta , Georg ia; 2000, The Ar ts

1993, BFA, Ka nsas City Art Institu tc, Ka nsas City, Missolll'i

Excha nge, Atla nta , Georgia; 1998, City Ga Uery East,

1976. MA , University of .\few Mexi co, Albuq uerq ue

Ad a m a , Georgia

2002, Strange Fruit, Eyed rum Ga Uer}', Atla nta , Georg ia SELECTED EXHIBITIONS

1999, haunted, (a t\vo-person exhi bil'ion wi th Jennifer Hay ),

2002. Crossing Olier, City Ga llery Ea st, Atla nta , Georgia

Citv Ga llery at Chasta in , Atla m a, Georgia

2000. Cross Sections, Sun Tru st Pl aza Ga llery, Atl a nta . Georg ia

1999.. 11" 0 Person Show.. T he 621 Ga ll ery


Ha ilroad

:'I-Iusellm of Co n tem pora r~' Art, Georgia

Squ a re, Ta lla hassee, Florida

Jeru salem Housc, Atla nta . Georgia

1998, A Joumey into Lifesty le, Eroticislll. IlIIagel) 路.

Fed era l Heserve Ba nk .. Atla nta . Georgia

Old La ke Cla ire Ba plist Church. Atl a m a , Gcorgia


Cochran. Rebecca Dimling. 路路 Cityscape Atl anta '" (interview)

Flash Arl , Ylarch- April , 1999. p .6, illus. Cullu m, Jerry. " Reconstructing t.he Livcs of Slaves. Slaveholders,'" Allanla }oumal- Collslitul;ol1 , Jul y 12, 2002 , p. Q6. illus. .linkncr-L1 ovd. Amy. "'Lisa Tu ttle, Sandler lIudson Ga ll en ',"

Arl ill America.. Se ptember, 1997. p.11 5 . ill us. Shaw. Loui se. " Lisa Tmtle," Georgia 7l-ielll1ia/ 2002/ 2003 (ca la log), 2002, p. 59-60, iJlu s. SELECTED COMMISSIONS, AWARDS , GRANTS , ETC.

2002. Cayersham Press Artist-in-Rcsidence Award., South Afri ca, Ful ton COUJ1l)' Arts Council 2000.

~c x u s

Press.. Ar tisl lnilia ted-Projecl Awa rd

1999. ,\1 a)'or's Fellowshi p in the Arts. Visual Arts, CilVof Atl a nta, Georgia 1998. Burea u of Cullu ra l Affa irs-Citv of Atla nla Ind ividu a l Artist's Gra nt



William Christenberry

Amalia Amaki

Looker (from Blink series), 2002

digital photograph

30" x 35"

chromogenic print

16" x 14 "

Amalia Amaki

chromogenic print

16" x 14"

Klan Doll Photograph, 1992

William Christenberry

Klan Doll Photograph, 1992

If Wearing Feathers Does Not Make You Indian, Then Does

Drinking Coffee Make You Black?, (from Blink series), 2002

digital photograph

60" x 80 "

Perry Bard

Cybele Clark-Mendes

Black, 1999

chromogenic print

24" x 20"

Joan Henry, 2002

video monitors, sofa, synchronization unit dimensions variable Bradley Bullock

Surrogates , 2001

digital inkjet prints

144" x 156"

Bradley Bullock,

Cybele Clark-Mendes

Consanguinity, 1999

chromogenic print

24" x 20"

Cybele Clark-Mendes

Medley, 1999

chromogenic print 24" x 20路

(re)examination of white privilege, 2001

digital inkjet print

8" x 8" each, overall variable

Bradley Bullock

Cybele Clark-Mendes

Mulberry, 1999

chromogenic print

24" x 20"

Your Face Here?, 2000

digital inkjet print, wood

48" x 72"

Bradley Bullock

American Man (after Warhol), 2001

digital prints

variable dimensions

Bradley Bullock

Child's Play?, 2000

digital inkjet print, books, audio

36" x 48"

Bradley Bullock

Proiected Representation, 2000

digital inkjet prints

148" x 136"

William Christenberry

Klan Doll with Executioner's Mask, 1997

black-eyed peas, satin, wood, encaustic , rawhide

Cybele Clark-Mendes

While, 1999

chromogenic print

24" x 20"

Marcia R. Cohen

Color Atlas Proiect: Skin, 2002

chromogenic prints and computer

46 " x 34" overall

Software design and implementation by Liz Throop

Harry H. Delorme

Colonial Coast, 1995

acrylic on canvas, panel, aluminum

96" x 144" x 2"

Mark Steven Greenfield

Topsyturvy, 2000


22 " x 19"

loaned by the Steve Turner Gallery, Beverly Hills, California

19 3 /l'x9"x9" Mark Steven Greenfield William Christenberry

Untitled (Some Indignities Persist), 2000

Klon Doll with Red, White, and Blue Encaustic, 1997

32" x 21 " x 14"


25" x 18"

loaned by the Steve Turner Gallery, Beverly Hills, California

William Christenberry

Mark Sleven Greenfield

satin , wood, encaustic, rope

Klan Doll Photograph , 1992

Untitled (sometimes we become what we hate), 2000

chromogenic print

16" x 14"


18 " x 23"

loaned by Joy Simmons

Mark Steven Greenfield Untitled (so tell me who's the nigger now?), serigraph 23 " x 16" Loaned by Joy Simmons

Joe Lewis How many times do I have to tell you Detective, It's I)ot the black guy but Golden Boy over there, that's the one who stole my grandma's pension fundsl , 2000, manipulated gelatin si lver print 20" x 144 "

Mark Steven Greenfield Nightmare, 2001 Iris print 38 " x 24" Loaned by Steve Turner and Victoria Dailey

Billie Grace Lynn

Blackmail, 1998 steel , plastic, iron, string 120" x 18" x 72 " Stephen Marc

Mark Steven Greenfield

Uncle, 2001 inkiet print 34" x 23 " Loaned by Steve Turner Gallery, Beverly Hills, California Mark Steven Greenfield Problem Child, 2001 inkiet print 30" x 24" Loaned by Steve Turner Gallery, Beverly Hills, California Linda Hesh

Soul Searching #2, 1998 digital Ilfachrome print 20 " x 24" Stephen Marc

Soul Searching #3, 1998 digital Ilfochrome print 20" x 24 " Stephen Marc

Soul Searching # 17, 1999 digital Ilfochrome print 20" x 24 "

Lisa - Safe and Suspect, 2002 inkiet print 18 1/4"x 23 1/4" x 1" Linda Hesh

Susan - Safe and Suspect, 2002

Stephen Marc

Soul Searching #35, 2000 digital IIfochrome print 20" x 24 "

inkiet print 18 I/l' x 23 1/4" xl "

Stephen Marc

Linda Hesh Jan - Safe and Suspect, 2002 inkiet print 18 1/4" x 23 1/4" xl "

digital inkiet print 20 " x 35"

Linda Hesh

George - Safe and Suspect, 2002 inkiet print 18 I/l' x 23


4" xl "

Linda Hesh

Stefan - Safe and Suspect, 2002 inkiet print 18 1/4" x 23


4" x l "

Linda Hesh

Mike - Safe and Suspect, 2002 inkiet print 18 1/4" x 23 I/l' x l " Sally Grizzell Larson

Untitled (Hanging) , 1990-1992 gelatin silver prints 30 " x 150" overall Joe Lewis

Trying to break through the incomprehensible demoralization of

Prozac addiction so that he can go after the real problem,

I'Corbusier and his modernist friends , 1993-2002

manipulated gelatin silver prints,

60" x 126"

Woods tock/ Ohio #21 , from the Passage on the Underground Railroad series, 2001/2002

Stephen Marc

Woodstock/ Ohio #23, from the Passage on the Underground Railroad series, 2001/2002 digital inkiet print 20" x 35 " Stephen Marc

Woodstock/ Ohio #25, from the Passoge on the Underground Railroad series, 2001/2002 digital inkiet print 20" x 35 " Stephen Marc

Woodstock/ Ohio #27, from the Passage on the Underground Railroad series, 2001/2002 digital inkiet print 20" x 35 " Stephen Marc, Woodstock/ Ohio #31 , from the Passage on the Underground Roilrood series , 2001/2002 digital inkiet print 20" x 35 " Stephen Marc

Woodstock/ Ohio #33, from the Passage on the Underground Railroad series, 2001/2002 digital inkiet print 20 " x 35"


Adia Millett

Clarissa Sligh

With the absence of time .. ., 1999

Temple from American Materials, 1994

13 individually framed needlepoint panels

18" x 22" each

ink on geletin silver print

23" x 12"

James A. Rose, Jr.

Clarissa Sligh

Colored, 2000

Ann River Davis, 1994

ink on canvas paper

35 units, 18" x 24" each

ink on geletin silver print

10" x 22"

James A. Rose, Jr.

Clarissa Sligh

Untitled, 2000

Neighborhoods, 1994

charcoal, spray paint, marker on paper

35 units, 24" x 18" each

ink on gelatin silver print 10"x21 1/2"

Clarissa Sligh

Clarissa Sligh

Black Chairs, 1994

Lakshmi Roo, 1994

ink on geletin silver print

10" x 12"

ink on gelatin silver print 10"x21 ]1/2"

Clarissa Sligh

The Co/lector, 1994

ink on geletin silver print

10" x 22"

Clarissa Sligh

Palli and Ami, 1994

ink on geletin silver print

10" x 21 1/2"

Clarissa Sligh

AHo Nishumora, 1994

ink on geletin silver print

22 1/2" x 15"

Clarissa Sligh

Eddie Curinton's Family, 1994

ink on black and white photograph

10" x 22"

ISBN 0-9717534-3-1 Dan R. Talley, Color Culture Complexity

Š Copyright 2002 MOCA GA

All rights reserved

The Museum of Contemporary Art of Georgia, Inc.

1447 Peachtree Street

Atlanta, Georgia 30309

Published by The Museum of Contemporary Art of Georgia, Inc. Designed by Joan Body Printed by The Graphic Solutions Group, Atlanta, Georgia

Clarissa Sligh

Many Suburbon At/antos, 1994

ink on gelatin silver print

14" x 16"

Robert B. Stewart

Confessions, 1998

Iris prints

20 images, 18" x 14" each

lisa McGaughey Tuttle

Anxious Forebodings, 2002

four digital inkjet prints

24" x 24" each

lisa McGaughey Tuttle

Bi/ly and the Maid, 2002

three digital inkjet prints

24" x 144" overall

m The






Geor g i a

Color Culture Complexity  

exhibition catalogue for Color Culture Complexity at Museum of Contemporary Art of Georgia

Color Culture Complexity  

exhibition catalogue for Color Culture Complexity at Museum of Contemporary Art of Georgia