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<\/a><\/p>\n\nThese images hold a sense of the everyday coupled with mass pride. These are images that
\nhistory tells us do not exist. Dressed and dapper, professional and upwardly mobile, the black people in
\nthese two parts of the world appear as they are and show us who we are. The images work against what
\nwe are accustomed to seeing in National Geographic or US history textbooks. The lack of a visual record
\nlike this inspires our practice. And although the pictures in our family archives aren\u2019t self-portraits, they
\nare images of us.<\/p>\n
\nOur family albums are the raw material for our project, we will use these archival photographs In our collaborative project, we will interrogate collective consciousness by looking inward at our own family archives. While visiting her grandmother in Ethiopia this summer, Salome found a crumpled plastic bag of photographs in a shed. Taken by her late … Continue reading <\/a><\/p>\n
\nto create new self-portraits. We will create an ongoing archive of images by re-staging and repositioning
\nscenes from our family albums. Collapsing time and space, 1960s Addis and 1930s Paterson, NJ, come
\nback to tell us something new. We look into the faces of these women ancestors and see ourselves
\nreflected and re-framed. We plan to use 4×5 film, both color and black and white, digital photo, video,
\nand textile in our process. Our multimedia approach speaks directly to the multivocal histories we
\nare archiving. The empowering nature of making images of each other and ourselves will provide the
\nfoundation for future social practice.<\/p>\n","protected":false},"excerpt":{"rendered":"