16 Matching Annotations
  1. Nov 2018
    1. ut will future exhibitions, regardless of theme, incorporate the experience of African Americans

      integration of sorts

    2. Wilson showed the handicrafts of enslaved African Americans

      Whereas Wilson newly shows essentially-black art, The Carters claim the "high" european art

    3. covert heritage of African-American blood in those persons society perceives as Caucasian.

      not just persons, but art and archival

    4. that languish in storage

      storage/archival as categorization

    5. the registration system has eclipsed the object registered.

      registration as categorization

    6. experienced a frisson of surprise when encountering Wilson's contemporary critique within the stereotypically fusty context of an historical society.

      the disruption of museum categories through this work is destabilized for viewers when they are confronted with the context

    7. beyond the visual language of display to include a real institution's acquisition history and collections managemen

      the idea that contextualizing displays and categories of exhibitions participates with the art itself

    8. Using fabricated objects together with museum-style labels, lighting, wall color and display cases, he addressed the issue of how museums consciously or unwittingly reinforce racist beliefs and behavior.

      important summary

    9. "mock museums" in a variety of non-museum venues

      categorization of spaces - as all spaces hold historical weight aren't they all archives of sorts for events and experiences?

    10. nstitutionalized racism

      institutionalized racism is obviously embodied in exclusionary institutions of art



    1. “double consciousness.”

      double consciousness is tied to the image Douglass creates of the "veil" at the beginning of Narrative of the Life

    2. Nevertheless, we suggest that something vital has been overlooked in the effort to de-lineate photography’s repressive functions

      major argument of the book

    3. We know more about the imagery of racism than we do about what Afri-can American men and women did when they took photography into their own hands.

      Unlike slave narratives, there can't be a meta-claim of that inscriptive power (the learning to write scene), but the picture itself is evidence

    4. ystems of surveillance, how enthusiasti-cally early race scientists adopted it to survey and catalog people into new categories of “types.”

      this reflects the scrutiny of the auction block from earlier int he semester; wider spread of images means more means, modes, methods to scrutinize

    5. The photographs thus did much more than simply reflect in substance and shadow the wider social, political, and material calculus of the Atlantic world. They conditioned a modern way of seeing, physically conveying the new visual code in their material circulation be-tween persons and places as if themselves in search of an ideal philosophy and form.

      photography does not just create the image but redefine the circulation and comprehension of knowledge and fact

    6. It was opposed visually—pictorially contested

      This changes the power balance of slave narratives; credibility and "proof" can be framed in the image rather than in the writing