Southbound: Photographs of and about the New South comprises 56 photographers’ visions of the South over the first decades of the 21st century. Accordingly, it offers a composite image of the region. The photographs echo stories told about the South as a bastion of tradition, as a region remade through Americanization and globalization, and as a land full of surprising realities. The project’s purpose is to investigate senses of place in the South that congeal, however fleetingly, in the spaces between the photographers’ looking, their images, and our own preexisting ideas about the region.
Southbound embraces the conundrum of its name. To be southbound is to journey to a place in flux, radically transformed over recent decades, yet also to the place where the past resonates most insistently in the US. To be southbound is also to confront the weight of preconceived notions about this place, thick with stereotypes, encoded in the artistic, literary, and media records. Southbound engages with and unsettles assumed narratives about this contested region by providing fresh perspectives for understanding the complex admixture of history, geography, and culture that constitutes today’s New South. Through the exhibition, video, remappings, website, and catalogue—separately and in tandem—the Southbound project charts new courses to expanded imaginings for the twenty-first century South. All information can be found on the project website southboundproject.org.
Southbound: Photographs of and about the New South continues at the Halsey Institute of Contemporary Art (161 Calhoun Street, Charleston, South Carolina) through March 2, 2019.
Your list of must-see, fun, insightful, and very Los Angeles art events this month, including the Maya Codex of Mexico at the Getty, Beatrice Wood, Trenton Doyle Hancock, and more.
Your list of must-see, fun, insightful, and very New York art events this month, including Xaviera Simmons, Cristina Iglesias, Mire Lee, and more.
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
With explosions of color and materiality, Cave has his own enigmatic ways to funnel the funk through histories of adversity.
Kapwani Kiwanga invites viewers to look with only the quiet glow of natural light seeping in through the skylights, illuminating a nuanced way of seeing race.
This week, Godard’s anti-imperialism, in defense of “bad” curating, an inexplicable statue, criminalizing culture wars, and more.
I inserted the text from five press releases into DALL-E and this is what it churned out.
Funding options at UB include full-tuition scholarships for MFA students, the Arthur A. Schomburg Fellowship Program, and additional opportunities for MA students.
As protests rage across the country following the death of Mahsa (Zhina) Amini, Iranian and Kurdish artists are creating work in support of freedom.
In the shadow of a planned $150 million cultural center designed by Frank Gehry, a number of grassroots arts organizations are thriving in the predominantly Latino region.
Union members called for salary increases and pledged to hold the museum accountable to “its lip-service to social justice.”