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Privacy


Your privacy is very important to us. Accordingly, we have developed this Policy in order for you to understand how we collect, use, communicate and disclose and make use of personal information. The following outlines our privacy policy.

  • Before or at the time of collecting personal information, we will identify the purposes for which information is being collected.
  • We will collect and use of personal information solely with the objective of fulfilling those purposes specified by us and for other compatible purposes, unless we obtain the consent of the individual concerned or as required by law.
  • We will only retain personal information as long as necessary for the fulfillment of those purposes.
  • We will collect personal information by lawful and fair means and, where appropriate, with the knowledge or consent of the individual concerned.
  • Personal data should be relevant to the purposes for which it is to be used, and, to the extent necessary for those purposes, should be accurate, complete, and up-to-date.
  • We will protect personal information by reasonable security safeguards against loss or theft, as well as unauthorized access, disclosure, copying, use or modification.
  • We will make readily available to customers information about our policies and practices relating to the management of personal information.

We are committed to conducting our business in accordance with these principles in order to ensure that the confidentiality of personal information is protected and maintained.

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Terms & Conditions

TERMS & CONDITIONS

Web Site Terms and Conditions of Use

1. Terms

By accessing this web site, you are agreeing to be bound by these web site Terms and Conditions of Use, all applicable laws and regulations, and agree that you are responsible for compliance with any applicable local laws. If you do not agree with any of these terms, you are prohibited from using or accessing this site. The materials contained in this web site are protected by applicable copyright and trade mark law.

2. Use License

  1. Permission is granted to temporarily download one copy of the materials (information or software) on Alice Austen House’s web site for personal, non-commercial transitory viewing only. This is the grant of a license, not a transfer of title, and under this license you may not:
    1. modify or copy the materials;
    2. use the materials for any commercial purpose, or for any public display (commercial or non-commercial);
    3. attempt to decompile or reverse engineer any software contained on Alice Austen House’s web site;
    4. remove any copyright or other proprietary notations from the materials; or
    5. transfer the materials to another person or “mirror” the materials on any other server.
  2. This license shall automatically terminate if you violate any of these restrictions and may be terminated by Alice Austen House at any time. Upon terminating your viewing of these materials or upon the termination of this license, you must destroy any downloaded materials in your possession whether in electronic or printed format.

3. Disclaimer

  1. The materials on Alice Austen House’s web site are provided “as is”. Alice Austen House makes no warranties, expressed or implied, and hereby disclaims and negates all other warranties, including without limitation, implied warranties or conditions of merchantability, fitness for a particular purpose, or non-infringement of intellectual property or other violation of rights. Further, Alice Austen House does not warrant or make any representations concerning the accuracy, likely results, or reliability of the use of the materials on its Internet web site or otherwise relating to such materials or on any sites linked to this site.

4. Limitations

In no event shall Alice Austen House or its suppliers be liable for any damages (including, without limitation, damages for loss of data or profit, or due to business interruption,) arising out of the use or inability to use the materials on Alice Austen House’s Internet site, even if Alice Austen House or a Alice Austen House authorized representative has been notified orally or in writing of the possibility of such damage. Because some jurisdictions do not allow limitations on implied warranties, or limitations of liability for consequential or incidental damages, these limitations may not apply to you.

5. Revisions and Errata

The materials appearing on Alice Austen House’s web site could include technical, typographical, or photographic errors. Alice Austen House does not warrant that any of the materials on its web site are accurate, complete, or current. Alice Austen House may make changes to the materials contained on its web site at any time without notice. Alice Austen House does not, however, make any commitment to update the materials.

6. Links

Alice Austen House has not reviewed all of the sites linked to its Internet web site and is not responsible for the contents of any such linked site. The inclusion of any link does not imply endorsement by Alice Austen House of the site. Use of any such linked web site is at the user’s own risk.

7. Site Terms of Use Modifications

Alice Austen House may revise these terms of use for its web site at any time without notice. By using this web site you are agreeing to be bound by the then current version of these Terms and Conditions of Use.

8. Governing Law

Any claim relating to Alice Austen House’s web site shall be governed by the laws of the State of New York without regard to its conflict of law provisions.

General Terms and Conditions applicable to Use of a Web Site.

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Alice Austen House Exhibiting In Photoville 2020

Alice Austen House Exhibiting In Photoville 2020

The Alice Austen House is partnering with Photoville NYC for its 9th year. Photoville is an annual outdoor photography festival that has expanded in 2020 to include outdoor installations in every single borough.

Photoville 2020 logo

At the Staten Island site on the South Beach boardwalk, AAH and Photoville will present the work of Olga Ginzburg, 2019 AAH Triennial Finalist, and Stephen Obisanya, AAH 2016 Triennial Finalist.

From Photoville:

“Like so many trying to navigate our way during this extraordinary time, in the midst of fighting a global pandemic, a long-overdue reckoning of social injustice, and financial insecurity, we took a long look at what we could do and we adjusted, shifted, tweaked, reinvented, punted – we hustled – and found a way for the festival to still take place, while staying true to its spirit.”

 

 

This annual community gathering features over 60 public exhibitions, virtual online storytelling events, artist talks, workshops, demonstrations, educational programs, and community programming.

FREE for everyone to enjoy in all 5 boroughs or anywhere online! Plan your photo excursion HERE: photoville.nyc.

Photo of a man rolling a tire down the sidewalk

Encounters by Olga Ginzburg

 

“This project is about a love of place, with all the complexity that word can generate. The photographs are created on chance encounters. What I seek is a kind of magic that can exist in ordinary daily living.

 

Many of the people I meet have a sense of pride about this place; that connection with their surroundings is something I want to explore. Like clues or hints, I find myself looking for the subtle ways my subjects reveal themselves.”

A black and white portrait of a man wearing a light hat. The photographer's shadow is visible on the man's coat.

Home Away From Home by Stephen Obisanya

Beyond the four walls where we discovered identity during childhood, what is it that makes a home? Is it the city in a faraway country where we first learned to speak the native tongue? Is it the feeling of belonging when surrounded by people who remind us of a unique, shared experience? Or is it where we choose to settle with loved ones at any given moment?

Home Away From Home is a snapshot of a small town in New York City, and the process of rediscovering home. It presents a candid look into the lives of Staten Island residents and documents the diverse life experiences often overlooked within the borough.

We look forward to “seeing” you (virtually) on Sept 17th for the opening night!

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Exhibition Collateral Archive

The Alice Austen House has been the home to the work of contemporary photographers since it became a museum. Here you can view the archive of postcards and collateral for those exhibitions.

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Deliberate Acts: The 3rd Triennial of Photography

Deliberate Acts, inspired by the writing of Audre Lorde, former Staten Island resident and celebrated Black lesbian feminist, writer and activist attempts to uncover the state of contemporary photography on Staten Island and showcase a borough that is often under-represented citywide. 

Name of Piece, year

Name of Piece, year

Featuring photography by Staten Island residents and others looking at the borough, this juried exhibition aims to find contemporary themes and narratives that photographers are currently exploring in their work through traditional, digital, and innovative uses of the medium.

Name of Piece, year

Name of Piece, year

Full Gallery

Date of Show

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Fusce facilisis vulputate leo vitae vehicula. Donec mattis neque eget nunc scelerisque mollis. Mauris enim velit, ullamcorper a mollis in, suscipit egestas urna. Ut sagittis, odio et commodo porttitor, justo sem convallis purus, vel lobortis mauris velit eget nisi. Quisque ultricies fringilla orci, vel dictum risus tincidunt eu. Suspendisse rutrum cursus justo at placerat. Nam congue mauris nec velit placerat, quis imperdiet arcu placerat. In hac habitasse platea dictumst. Sed placerat nisl turpis, at mattis dui semper a. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia curae; Mauris eros justo, feugiat at sapien ac, placerat rutrum ipsum.

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Diversity, Equity and Inclusion

The Alice Austen House fosters creative expression, explores personal identity, and educates and inspires the public through the interpretation of the photographs, life and historic home of trailblazing American photographer Alice Austen (1866-1952).


We pursue this mission and work with integrity, dedication, scholarship and passion. This means modeling new ways of operating that address the inequities that exist in our communities – across race, gender, sexual orientation, ability, and other identities.

Thus, Alice Austen House is committed to diversity, equity and inclusion in all of our programming and among our board, staff, volunteers, and patrons.

 


To that end, we commit to:

 

  • Partnering with community organizations and schools which represent the diverse communities we serve. We must utilize these collaborations to create a shared vision for change that promotes equity and eliminates systematic barriers.

 

  • Refining existing and developing new educational and public programming through the lens of diversity, equity and inclusion that meets the needs of the culturally, racially and ethnically diverse communities we serve.

 

  • Ensuring that Alice Austen House hiring practices are open and inclusive and developing a racially diverse Board of Trustees.

 

  • Our institution understands that a racially diverse staff and board are critical to growing and strengthening our organization’s adaptability and providing workplace welfare and greater accessibility.

 

 

The world is changing, and we commit to being a cultural institution that truly reflects the lives of the people in our communities.

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The Alice Austen House’s Statement Regarding COVID-19

As we all come together online and with our families and loved ones to face the COVID-19 pandemic, I wanted to reach out and keep you updated on our efforts at the Alice Austen House to respond to these challenging times.  

We are guided in all our decision making by a long-standing commitment to provide our community, both local and international, with contemporary photographic arts, historic preservation, LGBTQ+ and women’s history programming. 

 


 

Here is how we are responding:

 

PEOPLE

We are taking care of our staff by instituting remote work. Together with the Alice Austen House Board, we are supporting them to develop new ways of delivering meaningful news and programming for our students, supporters, and contributing artists.

 

IMPACT

We are committed to thinking long-term about our mission to share the life and work of Alice Austen to inspire everyone to explore personal identity through photographic arts and personal storytelling. 

There has been considerable disruption to our in-person programs. We are currently installing a brand new exhibition “Powerful and Dangerous,” which raises up the inspiring writing and images of black, lesbian, feminist and activist, Audre Lorde. This exhibition will be shared with you in the coming weeks via our  Facebook: facebook.com/aliceaustenhousemuseum, Instagram: instagram.com/aliceaustenhouse
and website: www.aliceausten.org

You can also view a selection of Alice Austen’s incredible photography here online. We are also preparing gallery tours of our period rooms which contain many fascinating stories of Alice’s life and the themes embodied in her work. 

Our museum is fortunate to have a dedicated live-in caretaker who continues to safeguard the house and tend to all our blooming spring gardens available for you to visit in our waterfront park.

 

BEING A FRIEND TO THE ALICE AUSTEN HOUSE

There is no doubt that we are all in this together. We are working closely with our partners to navigate the challenges to retaining and supporting staff and caring for our collections.

 


 

Your financial contributions make such a huge impact at this time, please consider donating to support our mission and the generation of all our new and long-term projects. 

In the coming weeks, we will continue to keep you informed of the ways you can be involved and help preserve our historic site and all of the important work that we do here. 

With sincere thanks and pride,

Victoria Munro Signature

Victoria Munro

and all of the staff of the Alice Austen House 

 

 

Take a quick 360-degree tour of our park and rooms here.

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Exhibitions

Powerful and Dangerous

The Alice Austen House presents the 1983 landmark press photo series of Audre Lorde by Robert Alexander.

Powerful and Dangerous explores the relationship between language and activism as well as how photographic composition conveys different messages. The exhibition holds up a lens to the contemporary women’s movement and considers how Lorde’s words resonate today.


contributions by:

Clare Coss

Blanche Wiesen Cook

Jean Weisinger

Dagmar Shultz

Jennifer Abod

JEB

Photo by Robert Alexander

Photo by Robert Alexander



Explore the exhibition online


Full Gallery

Presenting Audre Lorde in photographs and historic texts

 

contributions by

Clare Coss

Blanche Wiesen Cook

Jean Weisinger

Dagmar Shultz

Jennifer Abod

JEB

Film photograph of Audre reviewing the final draft of Zami: A New Spelling of My Name, her biomythography in her Staten Island study.

Powerful and Dangerous explores the intersection between language, activism and photographic messaging. The exhibition holds up a lens to the contemporary women’s, LGBTQ+, and Black Lives Matter movements and considers how Lorde’s words resonate today. Due to COVID-19 the exhibition has been extended with online programs until 2021. A series of public programs, including scholars talks, readings, outdoor film screenings and artist-led photo walks in the Staten Island neighborhood of Stapleton where Lorde’s home, now an LGBTQ Historic landmark, will take place through 2021.

This exhibition is curated by Victoria Munro with contributions by Clare Coss, Blanche Wiesen Cook, Jean Weisinger, Dagmar Shultz, Jennifer Abod and JEB.

Scholars talks will include: Clare Coss, Blanche Wiesen Cook, Jewelle Gomez, Cheryl Clark, Elizabeth Lorde Rollins, M.D. and Alexis Pauline Gumbs.

Film presentations by Dagmar Schultz and Jennifer Abod with audio interview by Jennifer Abod.

March 22/20 to February 15/21

Above: Audre reviews the final draft of Zami: A New Spelling of My Name, her biomythography in her Staten Island study. Photo by JEB 1981.

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Exhibitions

Call and Response

Endia Beal

Thomas Dworzak

Daniel Castro Garcia

Eric Gyamfi

Omar Imam

Kameelah Janan Rasheed

 

Six photographers implementing experimental
collaborative processes into their documentary work.

Presented with Magnum Foundation as part of worldwide events celebrating Magnum Photos 70th anniversary.

 

Daniel Castro Garcia

Eric Gyamfi

Thomas Dworzak

Omar Imam

Endia Beal

Endia Beal

Thomas Dworzak

Daniel Castro Garcia

Eric Gyamfi

Omar Imam

Kameelah Janan Rasheed

Call and Response

06/17/17– 09/3/17

 
Six photographers implementing experimental collaborative processes into their documentary work.
 
Presented with Magnum Foundation as part of worldwide events celebrating Magnum Photos 70th anniversary. 

At a time when the majority of new photography is viewed and shared through social media platforms this exhibition examines how contemporary photographers are responding to this environment by implementing more experimental collaborative processes into their documentary processes.

Over the past few years we’ve seen photographers implementing more artful conceptual, performance, writing, video and multimedia ideas into traditional documentary work. Whether this is an unconscious or conscientious response to a new media landscape more photographers are working with subjects and audience by integrating some kind of response from them into the final work. Within

this collaborative style of work we are seeing more photography where subjects are given a prominent voice or role to self-represent within the collaborations and play with the traditional power structures that exist within traditional documentary storytelling.

 

Eric Gyamfi

Eric Gyamfi was born in Ghana, West Africa. Gyamfi’s work is mainly in the medium of photography. Currently living and working in Ghana, his work consists of self-portraits, usually shot in monochrome, and various portrait series’ that comments on his country’s continual transition to modernity in the light of its traditions and customs and the people caught therein.

Project: The series “Just Like Us” 

Documents queer life in his homeland and along with picture taking asks subjects and viewers many questions about sexuality: Why sexual do minorities exist? Who are they and how do they live? How different are their everyday lives? And how does that threaten mine? How similar or different are we, and in what ways do our lives and experiences intersect? How significant are our differences?

With these questions in mind, the project “Just Like Us” becomes the beginning of a journal on the lives of queer friends I call participants, and others I meet along the way who have or will possibly lend themselves over to this continuous visual record of the mundane aspects of life that exist outside of the heteronormative, yet within it. These records of their existence are a part of the cumulative history of Ghana. He also asks viewers to leave questions and commentary within the exhibition in a process moves beyond the passivity of classic exhibitions of art work in the gallery space.

 

Endia Beal

Endia Beal is a North Carolina based artist, who is internationally known for her photographic narratives and video testimonies that examine the personal, yet contemporary stories of marginalized communities and individuals. Beal currently serves as the Director of Diggs Gallery at Winston-Salem State University and Associate Professor of Art.

As a graduate of the University of North Carolina at Chapel Hill in 2008, Beal earned a dual bachelor’s degree in Art History and Studio Art. During her undergraduate studies, she attended the Studio Art Center International in Florence, Italy focusing on High Renaissance Art History and the romance languages of the Italian culture. Following graduation, Beal was one of four women nationally selected to participate in ArtTable, a program designed to promote women in the visual arts. Representing the Washington, D.C. district, she assisted in the curation of the Andy Warhol Exhibit at the Luther W. Brady Art Gallery of George Washington University. Beal used this experience as a platform to advocate for minority opportunities within the arts. She was instrumental in creating marketing campaigns that redefined the way minority communities interact with art. Her work experience includes, the Southeastern Center for Contemporary Art, the Connecticut Center for Arts and Technology, and The New York Times Magazine.

In 2013, Beal graduated from Yale School of Art, with a Master of Fine Arts in Photography. While attending Yale, she created a body of work that explores the relationship of minority women within the corporate space. Her work was fully developed during the artist-in-residence program at the Center for Photography at Woodstock. Beal aligns herself with artists such as Carrie Mae Weems and Lorna Simpson, who use stories as the vehicle to question conformity and gender norms. Beal is featured in several online editorials including NBC, BET, the Huffington Post, Slate Magazine, PDN, and the National Geographic. She also appeared in Essence and Marie

Claire Magazine. Her work has been exhibited in several institutions such as the Charles H. Wright Museum in Detroit, Michigan, the Harvey B. Gantt Center for African- American Art + Culture based in Charlotte, NC, the Aperture Foundation of New York, and the Samuel Dorsky Museum of Art at State University of New York at New Paltz. Look forward to more work from Endia Beal as she bridges the gaps and increases our social awareness.

Project: The series “Am I What You’re Looking For?” focuses on young women of color who are transitioning from the academic world to the corporate setting, capturing their struggles and uncertainties on how to best present themselves in the professional workspace. As the young women pose in front of an office backdrop in their homes, they recall conversations during interviews. The women explain how employers would tell that their natural hair was unprofessional or their name was too difficult to pronounce, suggesting they alter themselves for the job. This project provides an in- depth investigation into the experiences and fears of being a woman of color in corporate America.

With Video:
Title: 9 to 5, 3min http://endiabeal.com/#!/videos

 

Thomas Dworzak

Born in 1972 and growing up in the small town of Cham in the Bavarian Forest, Thomas Dworzak very early decided to become a photographer. Early on, in high school he traveled to Northern Ireland, Israel/Palestine and the disintegrating Yugoslavia.

Immediately after graduating from Robert-Schuman Gymnasium, Cham (specializing in English, French and history ) he left Germany, always combining his travels and attempts to become a photographer with studying languages. Spanish in Avila, Czech in Prague, Russian in Moscow. In 1993 he ended up in Tbilisi, Georgia. Staying on until 1998.

At this time he began to discover the Caucasus, it’s conflicts (Chechnya, Karabakh, Abkhazia), people and culture which resulted in the publishing of his book, “Kavkaz” in 2010. The album combines pictures with excerpts of classic 19th century Russian literature (Tolstoy, Pushkin, Lermontov).

Affiliated with the Paris photographic agency Wostok Press, he began to cover news, especially the Kosovo crisis in 1999, mostly on assignment for US News and World report.

Based again in Moscow since 2000 Dworzak returned to Chechnya. His dramatic pictures of the Fall of Grozny were widely published and received several awards. He also continued his exploration of the North Caucasus. Dworzak became a Magnum nominee in 2000 and a full member in 2004.

He spent the years following the 9/11 attacks covering the wars in Afghanistan and Iraq as well as their impact on the US. During a several-months assignment in Afghanistan for The New Yorker, he discovered studio portraits of the Taliban. This became his first book, “Taliban”. Images taken during his many assignments in Iraq, most of which were shot for TIME Magazine, were used to create his next book: “M*A*S*H* IRAQ”.

From 2005 to 2008, as a TIME Magazine contract photographer Dworzak covered many major international news stories: Macedonia, Pakistan, Chechnya, Sri Lanka, Nigeria, Lebanon, Haiti, Chad, C.A.R., the London Attacks, Ethiopia, Iran, US presidential campaigns, Hurricane Katrina, and the revolutions in the former Soviet republics of Georgia, Kyrgyzstan and Ukraine.

During breaks from conflict areas and war zones he regularly photographed Fashion Weeks in major cities.

In 2006 Thomas photographed the New York Marathon while participating himself.

Thomas remained in Georgia after the 2008 war with Russia. This would lead to the Magnum Group project “Georgian Spring” which was a starting point for a new, several- year long engagement with the “New Georgia” under President M. Saakashvili. In 2012, Thomas photographed Nowrooz celebrations in Georgia.

Dworzak spent 2009-2010 in Afghanistan, documenting the deployment of ISAF troops and their return home. In 2009 he also visited Iran to photograph Ashura.

A National Geographic assignment on the Sochi Olympics became later the book “Beyond Sochi”.

In 2013, a commission for the Bruges Museum led him to photograph the memory of WWI. This has since become an ongoing project concerning the legacy of the First World War around the world, which he plans to finish in 2018, 100 years after the end of the conflict.

Always an avid collector, Thomas started gathering Instagram screen shots of a variety of subjects and has been grouping them together into ever-growing collections of #instagram artist scrap books.

Besides his personal stories, Thomas Dworzak continues to cover international stories, such as the DMZ in Korea, Cuba, Colombia, China, Liberia, Arab spring in Egypt, the war in Libya and most recently, the refugee crisis in Europe the November, 2015 Paris terror attacks, and 2016 US Presidential elections. Covering the heightened migration crisis in Europe since 2015 lead him to initiate the “Europa” guide for refugees.

Dworzak has also been teaching a number of workshops (Magnum, Hong Kong, Rio, Shanghai, Open Society Documentary Project, La Caixa Fotopress…).

Project: “The Guide for Refugees Europa”

“The Guide for Refugees Europa” is a collaborative and independent book, instigated by Magnum photographer Thomas Dworzak, is the first of its kind – intended for practical use by migrants and refugees, and as an educational tool to inform, engage, and facilitate community exchange. Written in four languages, (Arabic, Farsi, English, and French) the book offers and introduction to the motivations behind the creation of the European Union, how it developed, its current ethos, and the relevant debates that will determine its future. In the spirit of a travel guide, the book also offers “Practical Information.” This chapter highlights the major destination countries, providing basic information about the different political systems, geography, demographics, traditions, as well as typical foods and drinks, films and books of interest, and a list of institutions and organizations that provide information and service to migrants and refugees.

EUROPA is an independent non-profit project which is not available for purchase. The book has been created specifically for newly arrived migrants and refugees and the people who work with them. A print version of the book is being distributed, for free, to NGOs and people working with migrants and refugees.

 

Kameelah Janan Rasheed

Kameelah (b. 1985) is an artist-archivist based in Brooklyn, NY. Originally from East Palo Alto, CA with brief stints in Johannesburg, South Africa, Kameelah’s interdisciplinary and research intensive practice considers ideas of selective legibility and opaqueness as a political strategy; the tension between narrative contingencies and narrative resolutions; as well as black traditions of covert literacies and self-publishing. Until September 2016, she will be a Keyholder Resident at the Lower East Side Printshop. She is also a recipient of the Triple Canopy’s 2015 NYPL Labs Commission where she is conducting archival research on early 20th-century Black religious movements through NYPL’s expansive archive. For the 2016-2017 season, she will be an artist in residence at Smack Mellon in DUMBO as well as on the faculty at SVA in New York City. You can view aphoristic text series “How to Suffer Politely (and Other Etiquette)” juxtaposed with Norman Rockwell’s “For Freedoms” in the group show For Freedoms at Jack Shainman Gallery until July 29th, 2016. In September, she will participate in the Creative Exchange Lab at the Portland Institute of Contemporary Art. Upon her return, she will be preparing for several shows opening in New York and Boston in the fall of 2016 and winter of 2017.

Project: pilot initiative called On Religion: Photography in Collaboration and is working on a project about the African American religious experience. She’d probably be open to showing an early version of the project in a show. It is an online platform, so you’d need a monitor. Another project is On Refusal

The immersive installation integrates video, sound, photographs, text, objects, and reproductions of archival matter that explore her family’s syncretic religious history. Rasheed’s ongoing research-intensive practice looks at the pluralities of blackness and the interplay between legibility and opaqueness. A sprawling constellation of monochromatic textual and figurative work, On Refusal considers a collection of self- recorded street sermons as a starting point to map the histories of improvisation and religious heterodoxy among Black Americans, particularly her family. The affective space juxtaposes found photographs of worship, large-scale text works, pages from childhood religious studies books and scripture, abstract prints, looped video, and a sound installation. On Refusal does not oer a united linear narrative or resolution; rather each piece operates as a gesture toward a moment of consideration.

 

Omar Imam

Omar Imam is a Beirut-based, Syrian photographer and filmmaker. In his photographic works, Imam uses irony and a conceptual approach to respond to the violent situation in Syria and he often has to publish his work under a pseudonym. After leaving Damascus in late 2012, he began making fictional short films that often focus on the Syrian refugee experience. Individually and with NGOs, he has produced films, photography projects, and workshops for Syrian refugees in Lebanon.

Project: This project, “Live, Love, Refugee,” examines the mental state of Syrian refugees in Lebanon, asking how relations and dreams are affected by conflict and displacement. It is a visual evocation of the pain and desire of Syrians who struggle to survive in their new land.

The people I met are in the worst possible conditions, but they have the desire to continue being human.

I chose to make complex photographs, employing symbolism and surrealism, in an attempt to approach the psychological situation of my subjects. I wanted to disrupt the audience’s expectations of images of refugees and to present them with questions rather than answers.

For me this is the best way to express this horrible experience. It gives viewers the ability to imagine horrific and over-photographed (but under-seen) cases like the Syrian situation, where every related story is a copy of a copy of a copy. I like to surprise the audience without being aggressive, avoiding the low hanging fruit of political reaction and focus instead on a deeper human perspective.

Link: “Live, Love, Refugee” 

 

Daniel Castro Garcia

Daniel Castro Garcia is a London based photographer and film-maker. He studied Spanish and Latin American Literature at University College London and after graduating went on to work as an Assistant Director in the UK film, commercial and music video industry. Along side this profession; Daniel developed his photography practise. Having started out as a street photographer working on personal projects his work now focuses on social documentary and portraiture.

In May 2015 Daniel started the photography project “Foreigner: Migration into Europe 2015-2016” in collaboration with John Radcliffe Studio partner Thomas Saxby, which has subsequently been made into a photo book. In December 2015 he was nominated to enter the First Book Award founded by Mack Books, a photography publishing prize established in 2012 to support emerging photographers. In May 2016 the book was shortlisted for the award and received a print run of 1000 copies, printed by Die Kuere and available to buy from Antenne Books (sold out). In October 2016, “Foreigner: Migration into Europe 2015-2016” was shortlisted for the Paris Photo Aperture Foundation First Book Award.

In January 2017 Daniel was named the winner of the British Journal of Photography International Photography Award 2017 in recognition of his work on the migrant/refugee crisis across Europe. He will subsequently be having a solo show at the TJ Boulting Gallery, London, in March 2017. This exhibition will be accompanied by a new John Radcliffe Studio publication, “Foreigner: Collected Writings 2017”.

In March 2017, Daniel was selected as a grantee by the Magnum Foundation Fund. This support will enable the continuation of his work in Sicily, Italy, documenting the refugee/migrant crisis.

Project: I Peri N’tera

Peri N’Tera is a project about the migration and refugee crisis in Europe, focusing on the narratives and experiences of unaccompanied minor though collaboration with one subject that he follows.

 

Opening reception  

Saturday, June 17, 3–5 p.m.
Free and open to the public
 
 
Join us following the opening from 6 – 8:30pm for Twilight Toast cocktail fundraiser. 
 
 
Categories
Exhibitions

North Shore

GARETH SMIT


Photographer Gareth Smit has created a body of work using Victory Boulevard as an artery to examine the diverse range of communities on the North Shore of Staten Island. He explores urban centers, cultural communities and personal stories about living on the North Shore during a time of dramatic urban and cultural shifts. 

"Victory Blvd", 2016

"Victory Blvd", 2016

"Victory Blvd"

2016

Full Gallery

Artist

Gareth Smit

09/16/17– 12/23/17

Opening reception

September 16, member preview 2-3pm, public opening 3-5pm

 
Photographer Gareth Smit has created a body of work using Victory Boulevard as an artery to examine the diverse range of communities on the North Shore of Staten Island. He explores urban centers, cultural communities and personal stories about living on the North Shore during a time of dramatic urban and cultural shifts. The exhibition is the culmination of nearly two years’ work documenting the changes and community responses to private development and city rezoning in the area. His work has been completed as a Future Culture Photo Urbanism Fellow with Design Trust for Public Space and is presented in partnership with Alice Austen House and Staten Island Arts.
 
 
This exhibition is part of Future Culture: Connecting Staten Island’s Waterfront on view at Staten Island ArtSpace.