Not exact matches
Moynihan was convinced that what he was witnessing was fundamentally a phenomenon
of the
black community, and so could be explained by the tragic
history of African Americans, which
rendered black families uniquely vulnerable to the kind
of social and economic pressures many faced in poor urban environments.
And he
rendered the invisible visible by showing readers that there were
black and brown heroes in American
history and also in everyday American life, helping readers
of color to see themselves in stories while also helping white readers to reckon with some
of the ways we benefit from, and often fail to recognize, deeply unjust power structures.
Images
of anonymous African Americans
rendered from vintage photographs form the basis
of Whitfield Lovell's practice, a sustained exploration
of the
black experience through
history and memory.
This week, we speak to Tiona McClodden (2016), a visual artist and filmmaker whose work explores gender, race, historical archives, and social change, driven by an interest in, she says, «contemporary
renderings of the works
of underrepresented figures in
Black American
history.»
Gallery walls are covered with his linear baroque flourishes, line drawings
rendered in
black rope and beads depicting the march
of history as a fantastical Carnival procession with mythic gods, beasts and bizarre creatures brandishing assault rifles.