Artist: Keliy Anderson-Staley

This series of tintype landscapes by Keliy Anderson-Staly is really great. I think that she has perhaps had more attention for her work in portraiture and the Off the Grid project but these images really inspire me. They aren't flashy or over the top in subject matter but I feel like they do exactly what great landscape work does, which is capture a feeling of a place not just what it looks like. This is something that I aspire to in my own landscape work, so it's nice to see someone else out there working in the same vein.














BIO:

EDUCATION

2006 MFA, Hunter College, New York, NY
2001 BA, Hampshire College, Amherst, MA

ACCOLADES, GRANTS AND RESIDENCIES

2010
Residency, Light Work Artist in Residence Program, Syracuse, NY (August)
Puffin Foundation Grant
Griffin Prize, Griffin Museum of Photography, MA
Photo Review Award, Print Center, Philadelphia, PA

2009
Runner-up, one of five, Aperture Portfolio Prize
Honorable Mention, “People, Places, Things,” EnFoco Photography Contest

2008
New York Foundation for the Arts (NYFA). Photography Fellow
Finalist, Duke Center for Documentary Studies/Honickman First Book Prize
First Prize and Solo Show Recipient, Joyce Elaine Grant Photography Exhibit, Texas Woman’s University Art Gallery, Denton, TX

2007
Residency, Bronx Museum of the Arts, NY: Artist in the Marketplace 28


SOLO AND TWO-PERSON EXHIBITIONS

2011
Keliy Anderson-Staley: Imagined Family Heirlooms, John Cleary Gallery, Houston, TX
Keliy Anderson-Staley: Photographic Objects, University of the Ozarks, Clarksville, AR
Off the Grid, Norman Hall Gallery, Arkansas Tech University, Russellville, AR

2010
-americans: Contemorary Tintype Portraits, J. Leibling Center, Hampshire College, Amherst, MA
Photographs by Keliy Anderson-Staley and Jeff Whetstone, Crutchfield Gallery, Johnson C. Smith University, Charlotte, NC
Off the Grid: Photography of Keliy Anderson-Staley. Susan Maasch Fine Art, Portland, ME
Off the Grid, Texas Woman’s University Art Gallery, Denton, TX
Riverside-Americans: Tintypes, California Museum of Photography, Riverside, CA

2009
Keliy Anderson-Staley: Off the Grid and -americans: Contemporary Collodion Portraits, Curated by Lisa Henry, California Museum of Photography, University of California at Riverside, CA

2006
Off the Grid: New Photographs, Hunter College Times Square Gallery, New York, NY

2001
Under Gramma's Porch, A.P.E. Gallery, Northampton, MA
Corrupted Palimpsest: A Photographic & Sculptural Installation, Hampshire College Main Gallery, Amherst, MA


GROUP EXHIBITIONS

2011
Of Gods and Monsters. Auction. Daniel Cooney Fine Art, New York, NY
Stable: Photography 2011, Susan Maasch Fine Art, Portland, ME
Onward '11. Project Basho. Philadelphia, PA
Contemporary American Portraits. In Focus Gallery, Cologne, Germany
Juried Photography: Alternative Processes, Mills Pond House Gallery, St. James, NY

2010

Stalking the Wild Asparagus, The Print Center, Philadelphia, PA
Open Season, Flanders Art Gallery, Raleigh, NC
A Summer of Photography: Gerlovin, Levy, Folberg, Weems, Anderson-Staley, Flomenhaft Gallery, New York, NY
Portraits, RayKo Art Center, San Francisco, CA
Recent Acquisitions from the Collection of Allen Thomas. Wilson Arts Council. Spring Hope, NC
Hampshire College 40th Anniversary Alumni Exhibition, Hampshire College, Amherst, MA

84th Annual International Competition. The Print Center, Philadelphia, PA
84th Annual International Competition. Long Beach Island Foundation of the Arts and Sciences, Loveladies, NJ

AIPAD, John Cleary Gallery, New York, NY
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, Trustman Art Gallery, Simmons College, Boston, MA
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, University Art Gallery, UMASS/Dartmouth, New Bedford, MA
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, Maine Media Workshop, Rockport, ME

2009
Connections, Jenkins Johnson Gallery, Curated by Lisa Henry, San Francisco, CA and New York, NY
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, University of New England Art Gallery, Portland, ME
Fractions of Sight, Rockland Center for the Arts, Nyack, NY
Portraits, Center for Fine Art Photography, Denver, CO Juror: Mary Ellen Mark
The Business of Art, University of New England Art Gallery, Portland, ME
Dux Femina Facti: A Woman is in Charge, Susan Maasch Fine Art, Portland, ME
Joyce Elaine Grant Photography Exhibit, Texas Woman’s University Art Gallery, Denton, TX
Currents in Contemporary Photography, Flanders Art Gallery, Raleigh, NC
What Surrounds Us: Finding and Making Home, Ernest Rubenstein Gallery at the Educational Alliance, New York, NY

2008
Outside Over There, Aferro Gallery, Newark, NJ
Second Annual Photography Re-imagined, Tilt Gallery, Phoenix, AZ
How Soon Is Now? AIM 28 Exhibit, The Bronx Museum of the Arts, Bronx, NY
Found at Fotofest, John Cleary Gallery, Houston, TX
Resurrection, 23 Sandy Gallery, Portland, OR
Want, Dana Warp Mill Gallery, Westbrook, ME
Traces and Avenues: a selection from Moment Magazine: Une Revue de Photo, Safe-T-Gallery, Brooklyn, NY
Small Packages, Clarabella Gallery, New York, NY


Gallery:
http://www.johnclearygallery.com/

Artist Website:
http://www.andersonstaley.com/

Artist: Joshua Dudely Greer

I think Joshua Dudely Greer's work "American Histories" is kind of an interesting project that tackles some of the same concerns that I'm trying to address in my own work. The idea that the events of the past permeate the landscape and influence our understanding of place in the present really fascinates me. In a way that is what is driving my work. I want to go to these places where history has recorded certain events and bring to light the evidence of what those events mean, or what they have left behind. In many cases the events of the past have lead directly to acts of re-creation in the present. We know the landscape had certain features and so in order to preserve the history of the place we take direct action to maintain or embellish those features. With his work he freely admits to using the "language" of cinema to create his own landscapes of events. In my mind the two methods don't really mesh as well as I would like. In places I feel like I know that the fabrication exists and so it makes me look for it to show through in all the images.







Bio:

Review:
http://marcus-bmode.blogspot.com/2011/03/joshua-dudley-greer.html

Artist Website:
http://www.jdudleygreer.com/welcome.html

Artist Lecture: Larry Sultan from VCU Itunes U

I think one of the best things in the lecture came at the end when he was talking about the idea of access being key to being an artist. How to get access to do what ever your project is, or how to get work out so that it's being seen. I liked that he viewed it as a challenge to get your work out to people and to continue to work and be an artist even if the art market isn't supporting your work.

three words:
Documentary, conceptual, mixed-media

unknown fact:
I thought it was really interesting when he talked about how his Art experience or education came directly from his interaction with the advertising world and the billboards of the sunset strip

I had never seen his underwater work that won him the gugenheim grant. I thought it was really amazing. It's weird because I'm really drawn to water myself and have contemplated similar work, but never really knew how to do it or what to do with it. I think it shows a lot about what kind of artist he was that he would leave a successful collaboration on something that he knew had been successful to do what he really wanted with the underwater project.

Idea: Monticello

Monticello is one of those places that is so iconic that I feel like its hard to deal with. It's so much of a museum that it's hard to think of it as someones home. In a way it's really fitting that figure so central American history such as Jefferson should have lived in a place that seems so much larger than life now. With some research I found out that Monticello hasn't always been so nice in fact multiple times since it was built it has fallen into ruin and almost been destroyed. It is only recently with our current obsession with history that the place has become so important that it has been refurbished and made into a shrine for Jefferson.

Quotes:

Text:Leepson, Marc. Saving Monticello: The Levy Familys Epic Quest to Rescue the House that Jefferson Built. New York, NY: The Free Press, 2001. Print.

Spring 2011 Contest/Show Entries

Photographer's Forum: 31st Annual Spring Photography Contest




The Center for Fine Art Photography: Black and White 2011

Idea: Tourism

"In the middle ages people were tourists because of their religion, whereas now they are tourists because tourism is their religion." ~Robert Runcie

"Tourism, human circulation considered as consumption is fundamentally nothing more than the leisure of going to see what has become banal." ~Guy Debord

Text:
R., Charles, and J. R. Tourism: Principles, Practices, Philosophies. Hoboken, New Jersey: Wiley, 2008. Print.

I have kind of a love/hate relationship with tourism. If it weren't for it being a massive thriving business most of the places that I've visited wouldn't exist or wouldn't be as accessible and visitor friendly. However, I feel that in a lot of ways the Runcie quote sums up the effects of the industry on people. In a lot of cases I feel like the commercialism of it leads people to visit historical sites simply so they can say they've been there. The individual experiences aren't as important as the collecting of places.

Idea: Landscape

"Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment." ~Galen Rowell

"Landscape is a piece that is emotional and psychological." ~ Jim Hodges

Text:
Copps, David H. Views from the Road: a community guide for assesing rural historic landscapes. Washington D.C.: Island Press, 1995. Print.

With this project the landscape of these historical sites is primarily what I am photographing. I like to look at these places that we know have a specific history and try to relate what I know happened there to what I'm seeing. In some places there are very distinct relationships between the what you can see now and what has transpired in the past, in others the relationship is a little more hazy. But I think those relationships are what give them such an interesting contrast.

Idea: Historical Preservation

"It has been said that, at its best, preservation engages the past in a conversation with the present over a mutual concern for the future." ~William Murtagh

"We strain to listen to the ghosts and echoes of our inexpressibly wise past, and we have an obligation to maintain these places, to provide these sanctuaries, so that people may be in the presence of forces larger than those of the moment." ~Ken Burns

Text:
Tyler, Norman, Ted Ligibel, and Ilene R. Historic preservation: an introduction to its history, principles, and practice. 2nd ed. New York, NY: W. W. Norton & Company, 2009. Print.

Historical Preservation is really central to my project. Without regulations and policies in place to protect the historical sites many would have been destroyed. I think the lengths to which we go to in order to protect our history is really interesting. The fact that we set aside these large swaths of land and don't allow modern building or industry to use it is a testament to the importance we place on our history.

Idea: Signs

"in the present era an enormous amount of information is communicated on signs and other objects located in the built enviroment." ~Chris Calori

"well-designed sign programs serve to visually unify a site, signage can perform a placemakeing role by creating a unique identity and sense of place." ~Chris Calori

Text:
Calori, Chris. Signage and wayfinding design: a complete guide to creating environmental graphic design systems. Hoboken, New Jersey: Wiley, 2007. Print.

In my trips to different historical one thing that seems to be a constant is signage. At first I kind of took the signs for granted, but after a while I started to think about how large a part they are of the sites. They direct you to where you want to go and convey information about the sites that you would never know if not for the signs.

Artist: Eugen Sakhnenko

I think that Eugen Sakhnenko's recent series "Shelf Life" is in a lot of ways closely related to the work I'm starting to do about history. His ideas about information or knowledge and how we interact with it and how we try to protect it are very similar to the ideas I have about history specifically. I feel like history seems to be something in a book to be protected and treasured by some people. To others it's a consuming passion, not just the information but the places and the actual experiences of it. I'm becoming very interested in how "we" interact with history, whether it's through reenactment, collecting of artifacts, or simply the reading of history books.







Artist Statement:
Shelf Life (2009 - 2010)

Initially, the idea for Shelf Life developed out of a fascination with institutional spaces. I wanted to explore knowledge by photographing places of information storage. Knowledge – what we know, and information – how we know it, are the two factors that help society progress. When we uncover new information, we can make new connections and that leads to new knowledge. As I researched related topics and began photographing, I realised that these institutions presented many contradictions to this process and these became the focus of my work.

All of the places are limited physically resulting in highly curated collections. For every book, file, or object included, thousands must be excluded. Certain spaces such as the eTalk video archive are completely inaccessible to the public. Others such as the Great Library, the Mira Godard Study Centre, and the Ontario Jewish archives are only accessible to a small part of the population. Other issues such as retrieval, organization, and availability are also inhibiting. In most cases it appears that these spaces exist for the purpose of preservation rather than to act as a resource – the original goal of such institutions.

“We need to decide whether we wish to protect books or let people read them,” writes Umberto Eco in his 1981 essay De Bibliotheca. “I’m not saying that we need to let people read them without protecting them, but neither should we protect them without letting people read them.” For the first time it is technologically possible to have universal access to all knowledge due to new media. Organizations such as the Internet Archive are working towards this by scanning, and making available for free, out of copyright books. With Shelf Life, I am not arguing against traditional knowledge media – it is always best to have original sources. However, to solve the problems of tomorrow and enable us to achieve the highest level of critical thinking, everything must be recorded and accessible to everyone. We as a society must make sure we do not artificially impose therestrictions of old media, onto the new.

Bio:
Eugen Sakhnenko photographs people and the spaces they create. Whether a personal project or a commissioned job his images are highly technical and conceptually driven. The result is consistently captivating pictures that are as confrontational as they are revealing, rich in meaning that goes beyond their initial beauty.

Having lived in major cities all his life – Kiev, New York, and now Toronto – Eugen’s work has an urban focus, often exploring themes of access, technology, and contemporary culture. His photographs have been exhibited internationally and published within Canada. For interior and architectural work, Eugen is represented by A-Frame. He is also the co-founder of Knock Twice – a blog dedicated to assisting and informing budding creative professionals.

Gallery: http://www.torontoimageworks.com/gallery.html

Artist Website: http://eugensakhnenko.com/

Idea: Museums

I'm really interested in looking at how history can be explored through the setting of a museum. Up until recently I have pretty much avoided the museums at the historical sites that I've visited. The reason being that it wasn't the "real" history, the actual landscape where the events took place. Moving forward I think that there is an interesting relationship there between actual history and how it is perceived and how it is different when removed from context.




Quotes:
"I seldom go into a natural history museum without feeling as if I were attending a funeral."
~John Burroughs

“Museums, museums, museums, object-lessons rigged out to illustrate the unsound theories of archaeologists, crazy attempts to co-ordinate and get into a fixed order that which has no fixed order and will not be co-coordinated! It is sickening! Why must all experience be systematized? A museum is not a first-hand contact: it is an illustrated lecture. And what one wants is the actual vital touch.” ~D.H. Lawrence

Text:
Bennett, Tony. The Birth of the Museum history, theory, politics. 1st ed. New York, NY: Routledge, 1995. Print.

Artist: Markus Hartel

I did something that I haven't done in a long time when I was out shooting this weekend. I took photos with people in them. I don't know if they will turn out, but I think I'm going to continue to try and shoot some people each time I go out. I think one of the things that I'm becoming interested in is the interaction that people have with these historical places. So I figured if I want to continue shooting people I should start looking at images with people in them. That's where Markus Hartel comes in. I think that his street photography is really strong work that showcases not only the people but also the environment they are in. If I'm going to include images of people in this series I think that they need to relate directly to the historical site and that needs to be evident.







Bio:
Born in Germany, I developed my love for photography when I was a kid. My grandma used to give me her rangefinder camera to take family pictures. That was fun!

Being a teenager, I bought my first camera and within a few years I developed the necessary technical skills for serious photography. I made a living as a typographer, graphic designer and as a digital photo retoucher… eventually documenting real life became my passion.

Coming to New York City in 2003 was a great inspiration and I started documenting every day people in the urban jungle with my camera – I would roam the streets for hours, longing for the next great photograph.

During the past few years my love for photography has grown, my work evolved and became multi-faceted, but I always stayed true to the original picture, as candid as it can be!

Interview:
http://f8mag.com/portfolios/item/markus-hartel

Website:
http://www.markushartel.com/

Idea: American Indians

While visiting Jamestown there is a lot of stuff related to American Indians and it made me think about how much a part of the history of this country and this state has been influenced or affected by American Indians. Therefore I want to start researching their History and Culture for things that might be relevant to my project.

Quotes:

1) "Formally organized Indian tribes ceased to exist on the Maryland Eastern shore in the late eighteenth century and in the Virginia sector in the early nineteenth century." ~Helen C. Rountree

2) "As Virginian Peter Fontaine reported in August 1763, warriors of the Upper Ohio Valley, Wabash Valley, and Great Lakes nations "entered into a combination against us, resolved it seems to prevent our settling any farther than we have, viz., much about the main Blue Ridge of mountains." ~ Woody Holton

Text:

Holton, Woody, and Omohundro Institute. Forced founders: Indians, debtors, slaves, and the making of the American Revolution in Virginia. The University of North Carolina Press, 1999. Print.

Idea: Jamestown

Since I'm working with the history of Virginia it seems best to start from the origins of Virginia. Therefore the English colony at Jamestown would seem like the place. For me Jamestown is wrapped in the mystery of false history of epic proportions, and what for this country and this state amounts to ancient history.

Quotes:

Jamestown, a name of first rank among historic names, saw the birth of English America. Here on an island in the James River in the heart of tidewater Virginia the English carved a settlement out of the wilderness. ~JOHN L. COTTER and J. PAUL HUDSON

For 13 years (until 1620) Virginia was the only English colony on the American mainland. Jamestown served this colony as its place of origin and as its capital for 92 years--from 1607 to 1699. ~JOHN L. COTTER and J. PAUL HUDSON

Text:

Cotter, John L., J. Paul Hudson, and Tom Thomas. New Discoveries at Jamestown: Site of the First English Settlement. Seattle, WA: CreateSpace, 2009. Print.

Artist: Oscar Palacio

I think that Oscar palacio's work is amazingly well thought out, and it explores many of the ideas that I'm interested in pursuing in my own work. The ideas of History and monuments and how they affect the people of the present is really interesting to me. In a way he's doing the work that I want to do on a smaller scale, in relation to Virginia.









Artist Bio:

SOLO EXHIBITIONS
2010	American Places, California Institute of Integral Studies, San Francisco, CA
2009	Re-represented, FP3 Gallery, Boston, MA
2007	History Re-visited, Mills Gallery, Boston Center for the Arts, Boston, MA (PDF)
2005	Unfamiliar Territory, Addison Gallery of American Art, Andover, MA

Awards

2008	Artist-in-Residence, Light Work, Syracuse University, Syracuse, NY
2005	Artist-in-Residence, Addison Gallery of American Art, Phillips Academy, Andover, MA
2004	Artist-in-Residence, Addison Gallery of American Art, Phillips Academy, Andover, MA
2003	Best Show of an Emerging/Unknown Artist 2001 - 2002 (Second Place), International Association of Art Critics (AICA), Boston Chapter, Boston, MA
	HCP Photography Fellowship, Houston Center for Photography, Houston, TX
2002	The St. Botolph Club Foundation Grant-in-Aid, St Botolph Club Foundation, Boston, MA
	Juror Award, Photographic Resource Center, 2002 Members’ Exhibition, Boston, MA
1999	Jurgen Thieck Memorial Award for Photography, New Jersey Center for Visual Arts, Summit, NJ
1997	Ernst Haas Photography Student of the Year Award, Maine Photographic Workshops, Rockport, ME
1995	Fine Arts Council Scholarship, Florida International University, Miami, FL

Quotes:

"While photographing such iconic places as Plymouth Rock, Hoover Dam, and most recently, Gettysburg National Military Park and Underground Railroad sites, Palacio considers the function of these revered memorials: What narratives do they posit and perpetuate? Who or what is celebrated or excluded at such sites?" ~Allison N. Kemmerer

"These photographs suggest that history is an ongoing dialogue between past and present, between traditional interpretations of events and the emergence of alternative perspectives, between the keepers of the eternal flame and those who wonder what other fires are burning underground, just outside the frame." ~Allison N. Kemmerer

Review:

http://photography.cdmhost.com/cdm4/item_viewer.php?CISOROOT=/p4023coll6&CISOPTR=3562&CISOBOX=1&REC=6

Gallery Representation:

Howard Yezerski Gallery: http://www.howardyezerskigallery.com

Artist Website:

http://www.oscarpalacio.net/

Idea: Battlefields

Virginia has a lot of battlefields. I can remember going to a bunch of them as a kid. I don't want my project to become all about documenting battlefields but I think they are something to look into. They act as a good historical marker for major events from Virginia's past. I think I'm going to start with some of the battlefields I haven't been to, then if they seem to be working out I may return to the ones I visited as a child.

Colonial National Historical Park - Yorktown Battlefield

On October 19, 1781, a British army under General Charles Lord Cornwallis was forced to surrender to General Washington’s combined American and French army. Upon hearing of their defeat, British Prime Minister Frederick Lord North is reputed to have said, "Oh God, it's all over." And it was. The victory secured independence for the United States and significantly changed the course of world history. ~National Park Service

Petersburg Civil War Sites

After months of fighting in the late spring of 1864, Union forces backed Robert E. Lee's Confederate army into defensive lines around Petersburg. For more than nine months the city endured a siege. ~Civil War Traveler

Text: The Official Virginia Civil War Battlefield Guide.

S., John. The official Virginia Civil War battlefield guide. Mechanicsburg, PA: Stackpole Books, 2001. Print.

Artist: Kehinde Wiley

I'm interested in Kehinde Wiley for his use of art history in his studio practice. While he uses the poses and visual cues to inform his compositions, the historical aspects of the original portrait subject are also important to the work as a whole. With my work concentrating on this area where there is so much history to draw from I think that I should be using this to my advantage. I am currently starting to research many aspects of Virginia's history in hopes that I can use what I find to give my work more continuity.







Bio:

EDUCATION
2001 MFA, Yale University, School of Art, New Haven, CT
1999 BFA, San Francisco Art Institute, San Francisco, CA

SOLO EXHIBITIONS
2009 The World Stage: Brazil, Museu de Arte Moderna, June-August, Rio de Janeiro, Brazil
2008 Down, Deitch Projects, November-December, New York, NY
The World Stage: Africa, Lagos ~ Dakar, Studio Museum in Harlem, July 16 – October 26, New
York, NY
FOCUS: Kehinde Wiley, Modern Art Museum of Fort Worth, April 20-May 25, Fort Worth, TX
2007 Kehinde Wiley, Portland Art Museum, May 5-August 19, Portland, OR
The World Stage: China, John Michael Kohler Arts Center, February 11-May 6, Sheboygan, WI
2006 Scenic, Rhona Hoffman Gallery, September 9 – October 14, Chicago, IL
Columbus, Roberts & Tilton, June 3 - July 8, Los Angeles, CA
Columbus, Columbus Museum of Art, September 8 - January 7, Columbus, OH
Kehinde Wiley, Sorry We’re Closed, June - August, Belgium, Brussels

GROUP EXHIBITIONS
2008 30 Americans, Rubell Family Collection, December 3, 2008 - May 30, 2009, Miami, FL
Recognize: Hip Hop and Contemporary Portraiture, Smithsonian Institution, National Portrait
Gallery, Feb 8-October 26, Washington, D.C.
2007 New York States of Mind, Queens Museum, December 16-March 23, Queens, NY
Commemorating 30 Years 1976-2007, Part Three 1991-2007, Rhona Hoffman Gallery, May 18-
June 16, 2007, Chicago, IL
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s
:
The Blake Byrne Collection, The Nasher Museum of Contemporary Art, Duke University, April
19-September 30, Durham, North Carolina,
Crossing the Line: African American Artists in the Jacqueline Bradley and Clarence Otis, Jr.
Collection, Cornell Fine Arts Museum, January 19-May 20, Orlando, FL,
2006 Black Alphabet – contexts of contemporary African-American art, Zacheta National Gallery of
Art, September 23–November 19, Warsaw, Poland
Hangar–7 Edition 4, Salzburg Airport, July 8–August 25, Salzburg, Austria
Down By Law, Wrong Gallery at the Sondra Gilman Gallery, Whitney Museum, January 21 - May
15, New York, NY
Redifined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, DC

AWARDS & HONORS
2008 Americans for the Arts, Young Artist Award for Artistic Excellence
2002 Rema Hort Mann Foundation Grant Recipient

LECTURES/SYMPOSIA
2009 Pennsylvania Academy of Fine Art, Philadelphia, PA
J. Paul Getty Museum, Los Angeles, CA
Artpace, San Antonio, TX
2008 Studio Museum in Harlem, New York, NY
2007 Here and Now: African and African American Art and Film Conference, New York, NY
Pennsylvania State University, State College, PA
Portland Art Museum, Portland, OR
Nasher Museum of Art at Duke University, Chapel Hill, NC
Yale University, New Haven, CT
Milwaukee Art Museum, Milwaukee, WI
John Michael Kohler Arts Center, Sheyboygan, WI
2006 Symposium on Contemporary Portraiture, Smithsonian Institution, National Portrait Gallery, DC
Columbus Museum of Art, Columbus, OH

Review:
http://www.kehindewiley.com/press/2009/wsj.html

Artist Website:
http://www.kehindewiley.com

Gallery:
http://www.deitch.com/index.php

Idea: Historical Documents

Now, whenever you read any historical document, you always evaluate it in light of the historical context. ~Josh McDowell

What is a diary as a rule? A document useful to the person who keeps it. Dull to the contemporary who reads it and invaluable to the student, centuries afterwards, who treasures it. ~Walter Scott

I want to go treasure hunting! One of the things that has been feeding into this project is that I feel like I really don't know my surrounding as intimately as I would like despite having lived here my whole life. Virginia has an over abundance of history in the state and I feel like that should be a resource I am drawing from. Up to now I haven't felt like I had much to tie my ideas of regionalism and history together. I'm hoping that finding historical documents about different places could be a key to making this work more cohesive.


Text:
Johnson, Michael P. Reading the American Past, Volume I: To 1877: Selected Historical Documents. New York, NY: BedfordSt. Martin, 2008. Print.

Johnson, Michael P. Reading the American Past, Volume II: From 1865: Selected Historical Documents. New York, NY: BedfordSt. Martin, 2008. Print.