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An Eye for the Tropics
Images of Jamaica and the Bahamas as tropical paradises full of palm trees, white sandy beaches, and inviting warm water seem timeless. Surprisingly, the origins of those images can be traced back to the roots of the islands’ tourism industry in the 1880s. As Krista A. Thompson explains, in the late nineteenth century, tourism promoters, backed by British colonial administrators, began to market Jamaica and the Bahamas as picturesque “tropical” paradises. They hired photographers and artists to create carefully crafted representations, which then circulated internationally via postcards and illustrated guides and lectures. Illustrated with more than one hundred images, including many i...
Shine
In Jamaican dancehalls competition for the video camera's light is stiff, so much so that dancers sometimes bleach their skin to enhance their visibility. In the Bahamas, tuxedoed students roll into prom in tricked-out sedans, staging grand red-carpet entrances that are designed to ensure they are seen being photographed. Throughout the United States and Jamaica friends pose in front of hand-painted backgrounds of Tupac, flashy cars, or brand-name products popularized in hip-hop culture in countless makeshift roadside photography studios. And visual artists such as Kehinde Wiley remix the aesthetic of Western artists with hip-hop culture in their portraiture. In Shine, Krista Thompson examin...
En Mas'
EN MAS': Carnival and Performance Art of the Caribbean is an extension of the Independent Curators International (ICI) and Contemporary Art Center, New Orleans (CAC) produced touring exhibition of the same title. The publication is an extension of the exhibition curated by Claire Tancons and Krista Thompson, but is also one of the first publications to give serious scholarly attention to contemporary art practices considering the connections between Carnival and performance, masquerade and social criticism, diaspora and transnationalism. EN MAS' will appeal to popular and scholarly audiences interested in Caribbean art, contemporary art, and performance studies. It fills a gap in two decades...
Black Light
Kehinde Wiley painted President Obama's official portrait and this is an early book from him documenting his extraordinary talents. "For most of Kehinde Wiley's very successful career, he has created large, vibrant, highly patterned paintings of young African American men wearing the latest in hip hop street fashion. The theatrical poses and objects in the portraits are based on well-known images of powerful figures drawn from seventeenth- through nineteenth-century Western art. Pictorially, Wiley gives the authority of those historical sitters to his twenty-first-century subjects." -National Portrait Gallery "My intention is to craft a world picture that isn't involved in political correcti...
Crossing the Line
A RADIO 4 BOOK OF THE WEEK 'A love letter to police officers and the most vulnerable people they protect and serve' CHRISTIE WATSON, author of THE LANGUAGE OF KINDNESS 'Extraordinary . . . urgent and compelling. We all have lessons to learn from this book' SIMON MAYO There is much more to policing than tackling crime. Every one of us will need the help of an officer at some point in our lives, often when we're at our most vulnerable. Yet how much do we really know about the realities of policing? Using real life stories from his twenty-five years of service with the Metropolitan Police, John Sutherland invites us beyond the cordon tape to bear witness to all he has seen. In doing so, he offers a hopeful vision for how we can tackle some of the biggest challenges facing society today. Includes a new Afterword on policing during the Covid-19 pandemic
Hoping for More
"We tend to use words like miracle and mystery in the context of serendipity. In this frank and eloquent account of life transformed by cancer, Deanna Thompson explores these articles of faith as they are also wont to appear--on the hard edges of hope and the dark side of joy." --Krista Tippett, from the Foreword Hoping for More is a story of a young religion professor with a stage IV cancer diagnosis and a lousy prognosis for the future. Amid the grief and the grace of her fractured life, this theologian--who is also a wife, mother, daughter, sister, and friend--searches for words adequate to express her faltering faith. More Anne Lamott meets Harold Kushner than the teller of a pious, God-saved-me-from-cancer tale, Thompson unpacks the messy realities that arise when faith and suffering collide. Told in shimmering prose, Hoping for More takes readers on an unsentimental journey through the valley of the shadow of cancer--beyond the predictable parameters of prayer, the church, even belief in life after death. What emerges is a novel approach to talking faith and accepting grace when hope is all you've got.
Museum Frictions
This third volume in a bestselling series on culture, society, and museums examines the effects of globalization on contemporary museum, heritage, and exhibition practices.
Caribbean
Unprecedented in scope, this book examines the modern history of the Caribbean through its artistic culture. Acknowledging the individuality of various islands, the richness of the coastal regions, and the reach of the Diaspora, Caribbean looks at the vital visual and cultural links that exist among these diverse constituencies. The authors examine how the Caribbean has been imagined and pictures, and the role of art in the development of national identity.
Empires of Vision
Empires of Vision brings together pieces by some of the most influential scholars working at the intersection of visual culture studies and the history of European imperialism. The essays and excerpts focus on the paintings, maps, geographical surveys, postcards, photographs, and other media that comprise the visual milieu of colonization, struggles for decolonization, and the lingering effects of empire. Taken together, they demonstrate that an appreciation of the role of visual experience is necessary for understanding the functioning of hegemonic imperial power and the ways that the colonized subjects spoke, and looked, back at their imperial rulers. Empires of Vision also makes a vital p...
Black Is, Black Ain't
Taking its title from Ralph Ellison's 'Invisible Man', this exhibition will explore a shift in the rhetoric of race from an earlier emphasis on inclusion to a present moment where racial identity is being simultaneously rejected and retained. The exhibition will bring together works by 26 black and non-black artists whose work together examines a moment where the cultural production of so-called "blackness" is concurrent with efforts to make race socially and politically irrelevant.0Exhibition: The Renaissance Society, Chicago, USA (20.04-08.06.2008).
