Shawn Michelle Smith
Dados Biográficos
| ID | 3612799 |
|---|---|
| NOME | Shawn Michelle Smith |
| PRENOMES | Shawn Michelle |
| SOBRENOME | Smith |
| ASSINATURA | SMITH S M |
| AFILIAÇÕES | The Graduate Center, CUNY |
| ORCID | 0000-0003-3556-989X |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 24 |
| TOTAL DE CITAÇÕES | 58 |
| TOTAL COMO AUTOR | 23 |
| TOTAL COMO EDITOR | 1 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1998 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 2 |
The Tip of the Iceberg
This essay considers Lorna Simpson’s Ice paintings, an ongoing series of large ink works depicting Arctic icebergs rendered in deep blues that the artist began in 2019. It studies the artist’s source materials for the works, including nineteenth-century photographs made on polar expeditions, and fragments of text and image taken from Ebony magazine. Reading the iceberg paintings as reflections on race and photography, the essay proposes that Simp…
Thinking Species
This essay considers what Donna Haraway and others have called "multispecies relations." It takes artist Alison Ruttan's The Four Year War at Gombe (2009–2011), which comprises photographs of a reenactment of a chimpanzee war studied by Jane Goodall, as an invitation to contemplate how the biological and behavioral similarities between humans and chimpanzees have been figured. Exploring the promises and risks of multispecies imaginings and multis…
A Nimble Arc
Witness Trees
This essay proposes that Ken Gonzales-Day's photographic series Searching for California Hang Trees invites one to consider the larger ecosystems in which human violence takes place. Conceived as a performative memorial, the artist's photographs of trees locate a history of lynching in the California landscape, rooting it quite literally in the oak trees that were harnessed to its brutality. The essay situates the series within a history of lands…
The North Pole
An Orientation to the Sea
Hiroshi Sugimoto, Time Exposed, Mirtoan Sea, Sounion, 1990, installation view as seen from the dock at Naoshima Island, Japan, 2013 (artwork © Hiroshi Sugimoto; photograph by the author, published
Photography, Darkness, and the Underground Railroad
This essay argues that Dawoud Bey’s photograph series Night Coming Tenderly, Black (2017) inventively engages the mechanics and metaphors that shape the medium of photography and its material and social history. The work is about the Underground Railroad, and Bey’s dark prints are especially appropriate to his subject, bearing witness to the relative obscurity of the Underground Railroad and intervening in the compulsory exposures of slavery. Nig…
Archive of the Ordinary
This article considers snapshot photography and affect through a reading of artist Jason Lazarus’s Too Hard to Keep. Lazarus’s project is an archive and shifting installation of anonymous photographs that donors can no longer bear to keep. It highlights the dual nature of the photographic snapshot – simultaneously banal and emotionally charged, tedious and intensely affecting, private and public, a site of cultural normativity as well as resistan…
Augustus Washington
This article considers Augustus Washington’s mid-nineteenth-century Liberian daguerreotypes as propositions about a new nation. It suggests that Washington understood the power of his images as propaganda for viewers in the United States and also as documents that registered the promise of a black nation for Americo-Liberians. Even as Washington created an idealized image of Liberian leaders, he also remained critical of them, knowing that his da…
Feeling Family Photography
As scholars, how do we look at other people’s family photographs? And when we do, whose feelings do we feel?In this brief note I would like to consider the limits of an “affiliative look” in studyi
The Afterimages of Emmett Till
This essay considers Jason Lazarus’s photograph Standing at the Grave of Emmett Till, Day of Exhumation, June 1st, 2005 (Alsip, Illinois) as a meditation on photography, history, national memory, and mourning. It suggests that Lazarus’s enigmatic image provides a striking metaphor for the spectacle and absence that defined the postmortem photographs of Emmett Till that circulated in 1955. Those images communicated the horror of Till’s murder to a…
Photography between Desire and Grief
Booker T. Washington's Photographic Messages
Research Article| March 01 2013 Booker T. Washington's Photographic Messages Shawn Michelle Smith Shawn Michelle Smith School of the Art Institute of Chicago [email protected] Shawn Michelle Smith is associate professor of visual and critical studies at the School of the Art Institute of Chicago. She writes about the history and theory of photography and race and gender in American visual culture. She is the author of American Archives: Gender, Ra…
Pictures and Progress
Delia's Tears
Obama’s Whiteness
The Half of Whiteness
Research Article| September 01 2006 The Half of Whiteness Shawn Michelle Smith Shawn Michelle Smith School of the Art Institute of Chicago [email protected] Shawn Michelle Smith is Associate Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. She is the author of American Archives: Gender, Race, and Class in Visual Culture (Princeton, 1999) and Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Cu…
Barbaric Intercourse
Photography on the Color Line
Photography on the Color Line Looking back over an extraordinarily long and distinguished career, W. E. B. Du Bois would remember: ''At the beginning of the twentieth century, when I was but ten years out of college, I visited the Paris Exposition of 1900.It was one of the finest, perhaps the very finest, of world expositions. . . .I had brought with me, as excuse for coming, a little display showing the development of Negroes in the United State…
American Archives
Journal Article American Archives: Gender, Race, and Class in Visual Culture. By Shawn Michelle Smith. (Princeton: Princeton University Press, 1999. xiv, 299 pp. Cloth, $55.00, ISBN 0-691-00477-3. Paper, $19.95, ISBN 0-691-00478-1.) Get access Joshua Brown Joshua Brown Graduate Center City University of New York, New York, New York Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 88, Iss…
Looking at One's Self through the Eyes of Others
Shawn Michelle Smith, "Looking at One's Self through the Eyes of Others": W.E.B. Du Bois's Photographs for the 1900 Paris Exposition, African American Review, Vol. 34, No. 4 (Winter, 2000), pp. 581-599
"Baby's Picture is Always Treasured"
Fragments from a Family Album
This project has grown out of my fascination with family photograph albums and the importance of such records both personally and culturally. Working from an album that chronicles moments in the life of three young girls (my mother and her two sisters) in tiny, fading images, I have manipulated details, enlarging and juxtaposing them in diptychs, triptychs, and composite grids. In so doing, I hope to highlight the strangeness of naturalized image…
Fragile Testimony
Shawn Michelle Smith, Fragile Testimony: Family Photographs and Kelly McKaig's Dreamworlds, Frontiers: A Journal of Women Studies, Vol. 19, No. 3, Problems and Perplexities in Women's Oral History (1998), pp. 98-111
Photography on the Color Line
Photography on the Color Line Looking back over an extraordinarily long and distinguished career, W. E. B. Du Bois would remember: ''At the beginning of the twentieth century, when I was but ten years out of college, I visited the Paris Exposition of 1900.It was one of the finest, perhaps the very finest, of world expositions. . . .I had brought with me, as excuse for coming, a little display showing the development of Negroes in the United State…
Looking at One's Self through the Eyes of Others
Shawn Michelle Smith, "Looking at One's Self through the Eyes of Others": W.E.B. Du Bois's Photographs for the 1900 Paris Exposition, African American Review, Vol. 34, No. 4 (Winter, 2000), pp. 581-599
Feeling Family Photography
As scholars, how do we look at other people’s family photographs? And when we do, whose feelings do we feel?In this brief note I would like to consider the limits of an “affiliative look” in studyi
Augustus Washington
This article considers Augustus Washington’s mid-nineteenth-century Liberian daguerreotypes as propositions about a new nation. It suggests that Washington understood the power of his images as propaganda for viewers in the United States and also as documents that registered the promise of a black nation for Americo-Liberians. Even as Washington created an idealized image of Liberian leaders, he also remained critical of them, knowing that his da…
Fragile Testimony
Shawn Michelle Smith, Fragile Testimony: Family Photographs and Kelly McKaig's Dreamworlds, Frontiers: A Journal of Women Studies, Vol. 19, No. 3, Problems and Perplexities in Women's Oral History (1998), pp. 98-111
"Baby's Picture is Always Treasured"
Fragments from a Family Album
This project has grown out of my fascination with family photograph albums and the importance of such records both personally and culturally. Working from an album that chronicles moments in the life of three young girls (my mother and her two sisters) in tiny, fading images, I have manipulated details, enlarging and juxtaposing them in diptychs, triptychs, and composite grids. In so doing, I hope to highlight the strangeness of naturalized image…
Fragile Testimony
Shawn Michelle Smith, Fragile Testimony: Family Photographs and Kelly McKaig's Dreamworlds, Frontiers: A Journal of Women Studies, Vol. 19, No. 3, Problems and Perplexities in Women's Oral History (1998), pp. 98-111
Looking at One's Self through the Eyes of Others
Shawn Michelle Smith, "Looking at One's Self through the Eyes of Others": W.E.B. Du Bois's Photographs for the 1900 Paris Exposition, African American Review, Vol. 34, No. 4 (Winter, 2000), pp. 581-599
American Archives
Journal Article American Archives: Gender, Race, and Class in Visual Culture. By Shawn Michelle Smith. (Princeton: Princeton University Press, 1999. xiv, 299 pp. Cloth, $55.00, ISBN 0-691-00477-3. Paper, $19.95, ISBN 0-691-00478-1.) Get access Joshua Brown Joshua Brown Graduate Center City University of New York, New York, New York Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 88, Iss…
Barbaric Intercourse
Photography on the Color Line
Photography on the Color Line Looking back over an extraordinarily long and distinguished career, W. E. B. Du Bois would remember: ''At the beginning of the twentieth century, when I was but ten years out of college, I visited the Paris Exposition of 1900.It was one of the finest, perhaps the very finest, of world expositions. . . .I had brought with me, as excuse for coming, a little display showing the development of Negroes in the United State…
The Half of Whiteness
Research Article| September 01 2006 The Half of Whiteness Shawn Michelle Smith Shawn Michelle Smith School of the Art Institute of Chicago [email protected] Shawn Michelle Smith is Associate Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. She is the author of American Archives: Gender, Race, and Class in Visual Culture (Princeton, 1999) and Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Cu…
Obama’s Whiteness
Pictures and Progress
Delia's Tears
Booker T. Washington's Photographic Messages
Research Article| March 01 2013 Booker T. Washington's Photographic Messages Shawn Michelle Smith Shawn Michelle Smith School of the Art Institute of Chicago [email protected] Shawn Michelle Smith is associate professor of visual and critical studies at the School of the Art Institute of Chicago. She writes about the history and theory of photography and race and gender in American visual culture. She is the author of American Archives: Gender, Ra…
Photography between Desire and Grief
The Afterimages of Emmett Till
This essay considers Jason Lazarus’s photograph Standing at the Grave of Emmett Till, Day of Exhumation, June 1st, 2005 (Alsip, Illinois) as a meditation on photography, history, national memory, and mourning. It suggests that Lazarus’s enigmatic image provides a striking metaphor for the spectacle and absence that defined the postmortem photographs of Emmett Till that circulated in 1955. Those images communicated the horror of Till’s murder to a…
Augustus Washington
This article considers Augustus Washington’s mid-nineteenth-century Liberian daguerreotypes as propositions about a new nation. It suggests that Washington understood the power of his images as propaganda for viewers in the United States and also as documents that registered the promise of a black nation for Americo-Liberians. Even as Washington created an idealized image of Liberian leaders, he also remained critical of them, knowing that his da…
Feeling Family Photography
As scholars, how do we look at other people’s family photographs? And when we do, whose feelings do we feel?In this brief note I would like to consider the limits of an “affiliative look” in studyi
Archive of the Ordinary
This article considers snapshot photography and affect through a reading of artist Jason Lazarus’s Too Hard to Keep. Lazarus’s project is an archive and shifting installation of anonymous photographs that donors can no longer bear to keep. It highlights the dual nature of the photographic snapshot – simultaneously banal and emotionally charged, tedious and intensely affecting, private and public, a site of cultural normativity as well as resistan…
An Orientation to the Sea
Hiroshi Sugimoto, Time Exposed, Mirtoan Sea, Sounion, 1990, installation view as seen from the dock at Naoshima Island, Japan, 2013 (artwork © Hiroshi Sugimoto; photograph by the author, published
Photography, Darkness, and the Underground Railroad
This essay argues that Dawoud Bey’s photograph series Night Coming Tenderly, Black (2017) inventively engages the mechanics and metaphors that shape the medium of photography and its material and social history. The work is about the Underground Railroad, and Bey’s dark prints are especially appropriate to his subject, bearing witness to the relative obscurity of the Underground Railroad and intervening in the compulsory exposures of slavery. Nig…
Witness Trees
This essay proposes that Ken Gonzales-Day's photographic series Searching for California Hang Trees invites one to consider the larger ecosystems in which human violence takes place. Conceived as a performative memorial, the artist's photographs of trees locate a history of lynching in the California landscape, rooting it quite literally in the oak trees that were harnessed to its brutality. The essay situates the series within a history of lands…
The North Pole
A Nimble Arc
The Tip of the Iceberg
This essay considers Lorna Simpson’s Ice paintings, an ongoing series of large ink works depicting Arctic icebergs rendered in deep blues that the artist began in 2019. It studies the artist’s source materials for the works, including nineteenth-century photographs made on polar expeditions, and fragments of text and image taken from Ebony magazine. Reading the iceberg paintings as reflections on race and photography, the essay proposes that Simp…
Thinking Species
This essay considers what Donna Haraway and others have called "multispecies relations." It takes artist Alison Ruttan's The Four Year War at Gombe (2009–2011), which comprises photographs of a reenactment of a chimpanzee war studied by Jane Goodall, as an invitation to contemplate how the biological and behavioral similarities between humans and chimpanzees have been figured. Exploring the promises and risks of multispecies imaginings and multis…
Art (20 obras) · Photography and Visual Culture (14 obras) · Art history (13 obras) · Visual arts (12 obras) · History (11 obras) · Photography (9 obras) · Aesthetics (5 obras) · Computer Science (5 obras) · Visual Culture and Art Theory (5 obras) · Geographies of human-animal interactions (4 obras)