5/7/2023 0 Comments Camaras invisibles![]() ![]() ![]() On this topic, they point to Rihanna’s Fenty Beauty line. ![]() ![]() More specifically, Taylor describes the technical adroitness that’s necessary in order to represent Black skin tones faithfully with current standards of available technology. It doesn't matter if a Black person is behind the camera or not'. It was a screenshot of a FaceTime conversation, with a literal note of caution written on top of it: 'if you point a camera at a Black person, on a psychoanalytic level it functions as a White gaze. After accidentally queuing half-an-hour for the Grayson Perry show at one of the two Serpentine Galleries in London, Taylor describes being “stuck” on one particular image. On this note, Taylor recalls a powerful encounter with the work of acclaimed artist Arthur Jafa. “He was the most photographed 19th-century American, he always made a point of having his portrait taken as a way to refute the other representations of Black people at the time.” It’s this history that has led Taylor to looking at the photography studio and photography more generally as on the one hand, “completely tied up in colonialism and imperialism.” But they also think too of the ways “people have tried to flip that, or use the tools of the camera to push other representations of Blackness in a wider sphere.” It was one part of Douglass’ biography in particular that informed parts of Taylor’s upcoming exhibition. There’s a rumour he scratched 'Send Back the Money' into Arthur’s Seat.” It became a rallying cry for the abolitionist movement in Scotland. This Church “travelled around the US raising money, and accepting money from plantation owners. Of particular importance was an encounter with the history of Frederick Douglass who led a campaign called Send Back the Money directed at the Free Church of Scotland. Taylor describes one of the theses of this book: “the position of Black women and women of colour that they always have to be this ‘in between’ between black men and men of colour and white people, and refuting that, refuting erasures and articulating life at the intersections (of race, gender, sexuality).”Īt this point, parallel research interests began to meet as Taylor was “thinking around the body and movement in respect to refusal and the navigation of survival practices in relation to the photography studio.” This brought together the limbo research with Taylor’s work as part of another research project about Black presences in Glasgow. It was then that adapting and survival practices took hold as a central organising theme for the exhibition, through thinking about the relation of the movement of the body and people and the book This Bridge Called My Back: Writings of Radical Women of Colour. In one recent video work, Taylor likens the contorted limbo shape to the strained position of Black women and gender non-conforming as “bridge”. start low and dancers would gradually go higher, replicating cycles of rebirth and reincarnation.” The different forms that this dance has taken through time included forms that related to the movement of slaves on slave ships and how they would move to enter the hold – “the phrase ‘being bent like a spider’ came up a lot.” “It began as a ritual performed at wakes in Trinidad. Taylor initially began the research for the exhibition with a postcard that depicted the limbo dance in Barbados. ![]()
0 Comments
Leave a Reply. |