1 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/9875d75d715f1479eb10bb2bf088da46.jpg 822c5b7e841c0405a1a018071049c2d2 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "All American Boys" Description An account of the resource Akea Brionne (b.1996 New Orleans, LA) is a photographer, writer, curator, and researcher working in Baltimore, MD. Akea received her BFA in 2018 from the Maryland Institute College of Art for Photography and Humanities. In 2018 she was announced the Documentarian of Color by Duke University. Her series Black Picket Fences was acquired by their permanent collection. In 2019 she was named the 2019 Janet & Walter Sondheim Winner. She has also received the Visual Task Force Award from the National Association of Black Journalists. Her work is also featured in the Smithsonian’s Ralph Rinzler Collection and Archives. Also in 2019, Akea co founded Shades Collective, a Baltimore based collective that is dedicated to giving BIPOC space in personal and professional pursuits in the arts and humanities. The CAPP Committee has chosen to purchase the work All American Boys from the A Brown Millennial Series. The series was exhibited in her first solo show in 2020 and features four photographic portraits saturated with colorful backgrounds and the aesthetics of Americana. Akea creates a 3-dimensionality in the work by positioning herself in front of a flat patterned background. The same fabric then wraps around her body to create a silhouette that initially blends into the picture plane before jumping out from the monotony of the patterned background. In the particular piece "All American Boys" Akea drapes herself in overwhelming images of bare chested white cowboys and red trucks. Akea submits a revisionist history, re-adding black bodies into American history, and more specifically the myth of the American cowboy. She exposes a history of racism, nationalism and nostalgia within the remembered histories of a legendary American Empire in the West. By placing her body within this pattern of the all-American cowboy Akea forces the viewer to question the traditional narratives of Western expansion, and the bodies of Natives and other people of color that were suppressed by this movement West. In her own words, Akea describes her practice as “nestled somewhere in between photography and critical theory.” She intertwines the personal and political, wrapping her contemporary body into history and culture to unpack the reality of privilege and force the viewer to ask difficult questions. Creator An entity primarily responsible for making the resource Akea Brionne Date A point or period of time associated with an event in the lifecycle of the resource 2020 Format The file format, physical medium, or dimensions of the resource Archival inkjet print, 24" x 34" https://contemporaryartumd.artinterp.org/omeka/files/original/8147a32b2dda1246a0e92f1e918123d7.jpg 747a65bebea5c3ddc62d3fe086de378a https://contemporaryartumd.artinterp.org/omeka/files/original/b1f3a83d3a1ee3cb3a0be6ad3f9e5efd.jpg 2bcd4d0b1a55c813914bdc9fb1ba4dbd Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ink on paper Physical Dimensions The actual physical size of the original image 22 x 30 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource As I Lay Dying by William Faulkner Date A point or period of time associated with an event in the lifecycle of the resource 2003 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.7 Creator An entity primarily responsible for making the resource Alice Attie Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource This artwork draws its title and subject matter from American author William Faulkner’s 1930 novel As I Lay Dying. Alice Attie made this ink drawing of a coffin by copying lines of Faulkner’s prose in a miniscule script. Depending on the spacing and direction of Attie’s writing, Faulkner’s words lose their legibility and instead take the shape of shadowed volumes, wood-grain textures, and hard, angular contours. The coffin is an object central to Faulkner’s story, and Attie’s mode of drawing with text deepens this connection to her source material. With meandering forms, she seems to meditate on the stream-of-consciousness technique of writing for which Faulkner is well known and, with the relative density of the text on each facet of the coffin, she nods to the novel’s multiple narrators. https://contemporaryartumd.artinterp.org/omeka/files/original/6819b747d314533cd03ef117ef345e8c.jpg 28c41981ccb7989000d9dbf101bb78d8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archival pigment print. Unique. Physical Dimensions The actual physical size of the original image Image: 24 x 30 inches; Framed: 25 x 31 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quanah Parker, Washington D.C., 1880s/Annu Palakunnathu Matthew, Providence R.I., 2000s Description An account of the resource From the series "An Indian from India" In this series, Annu Palakunnathu Matthew explores ethnicity, immigration, and the colonial gaze. Each panel juxtaposes two images: a late-nineteenth photograph of Native Americans and a reenactment of that historical image with Matthew’s body taking the place of the original subject. The series was inspired by Matthew’s experience, as an immigrant living in the United States, of constantly being asked where she was “really from.” It explores the role of photography in fixing and perpetuating stereotypes. As the artist explains, “I’m talking about the imbalance of power between the subject and the photographer. That’s one reason that I turned the camera on myself. Since the portrait is of me, I am in control of how I am being represented. It was a way to hold hands with Native Americans and reverse that gaze.” Date A point or period of time associated with an event in the lifecycle of the resource 2001-2003 Rights Information about rights held in and over the resource Courtesy Annu Palakunnathu Matthew and sepiaEYE. Original Photo Courtesy: The Library of Congress, Washington, DC. Relation A related resource 2008-2009 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2009.1.2 Creator An entity primarily responsible for making the resource Annu Palakunnathu Matthew https://contemporaryartumd.artinterp.org/omeka/files/original/2923d093059161213dafe6d2e477fb04.jpg 09af07538214ce531f8720f3db68db17 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archival pigment print. Unique. Physical Dimensions The actual physical size of the original image Image: 24 x 30 inches; Framed: 25 x 31 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traditional American Indian Mother and Child/Contemporary Indian American Mother and Stepchild Description An account of the resource From the series "An Indian from India" In this series, Annu Palakunnathu Matthew explores ethnicity, immigration, and the colonial gaze. Each panel juxtaposes two images: a late-nineteenth photograph of Native Americans and a reenactment of that historical image with Matthew’s body taking the place of the original subject. The series was inspired by Matthew’s experience, as an immigrant living in the United States, of constantly being asked where she was “really from.” It explores the role of photography in fixing and perpetuating stereotypes. As the artist explains, “I’m talking about the imbalance of power between the subject and the photographer. That’s one reason that I turned the camera on myself. Since the portrait is of me, I am in control of how I am being represented. It was a way to hold hands with Native Americans and reverse that gaze.” Date A point or period of time associated with an event in the lifecycle of the resource 2001-2003 Rights Information about rights held in and over the resource Courtesy Annu Palakunnathu Matthew and sepiaEYE. Original Photo Courtesy: University of Pennsylania Museum of Archaeology and Anthropology. Relation A related resource 2008-2009 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2009.1.3 Creator An entity primarily responsible for making the resource Annu Palakunnathu Matthew https://contemporaryartumd.artinterp.org/omeka/files/original/09ef45fd28cacf7ff08cf2dfad1a2569.jpg 44b1867253f88c30ee3abb1e255be368 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archival pigment print. Unique. Physical Dimensions The actual physical size of the original image Image: 24 x 30 inches; Framed: 25 x 31 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Belle of the Yakimas/The Belle of the Deccan Plateau Description An account of the resource From the series "An Indian from India" In this series, Annu Palakunnathu Matthew explores ethnicity, immigration, and the colonial gaze. Each panel juxtaposes two images: a late-nineteenth photograph of Native Americans and a reenactment of that historical image with Matthew’s body taking the place of the original subject. The series was inspired by Matthew’s experience, as an immigrant living in the United States, of constantly being asked where she was “really from.” It explores the role of photography in fixing and perpetuating stereotypes. As the artist explains, “I’m talking about the imbalance of power between the subject and the photographer. That’s one reason that I turned the camera on myself. Since the portrait is of me, I am in control of how I am being represented. It was a way to hold hands with Native Americans and reverse that gaze.” Date A point or period of time associated with an event in the lifecycle of the resource 2001-2003 Rights Information about rights held in and over the resource Courtesy Annu Palakunnathu Matthew and sepiaEYE. Original Photo Courtesy: University of Pennsylania Museum of Archaeology and Anthropology. Relation A related resource 2008-2009 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2009.1.4 Creator An entity primarily responsible for making the resource Annu Palakunnathu Matthew https://contemporaryartumd.artinterp.org/omeka/files/original/8aa8322befcbabe62a7abc3be6b5dbef.jpg ab671b3df6b08d56988e54104c80b0e8 https://contemporaryartumd.artinterp.org/omeka/files/original/8257a3cfca32e335a813d5c4cef6404f.JPG 55e5dc1f85252b17db1eca4a0a5f9b7e https://contemporaryartumd.artinterp.org/omeka/files/original/4032c65c351c2ddb8a7b5b61b8c8db41.JPG d8170a261692cc2d4ba97d6cbd947ac7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ultrachrome ink on cotton paper. Edition 5 of 5. Physical Dimensions The actual physical size of the original image 2 segments, each 44 x 66 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exposure #43: Barmsee, Bavaria, 08.18.06, 4:02 p.m. Date A point or period of time associated with an event in the lifecycle of the resource 2006 Relation A related resource 2008-2009 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2009.1.9 Creator An entity primarily responsible for making the resource Barbara Probst Rights Information about rights held in and over the resource Courtesy of the artist and Murray Guy, New York Description An account of the resource Barbara Probst investigates perception through photographic processes of framing and dislocation. She uses two or more cameras, triggered by remote, to record a single scene from multiple angles at the exact same moment. The resulting works subject the viewer to a complex process of comparison, synthesis, and evaluation, in which no perspective remains neutral. Probst further complicates the experience by varying shots in color or in grayscale, in closely framed crops or panoramic views. By revealed the potential range of impressions of a single time and place, Probst highlights the ways in which a photograph is always subject to the viewpoint and intentions of the photographer and the assumptions and expectations of the viewer. https://contemporaryartumd.artinterp.org/omeka/files/original/5aff41124d0059b19105c6119a90a6f1.jpeg 51b1f13d8dfd28fa4ade4e1b7650c4b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Youthful Memories (from the "Royal Blue" series) Description An account of the resource Beverly Price began exploring photography in 2016 as she witnessed the rapid gentrification of her birthplace of Washington, DC. She decided to pick up the camera to document the stories of her fellow DC natives. The Royal Blue Series follows the aftermath of the murder of 11-year-old Karon Brown in Washington, DC, and its effects on his close family and friends. Price began documenting Karon’s brother and friends in July 2019 when they were 13. She revisited them in 2022 to document their grief, healing, and growth. This selection of photographs from the series span these three years in the boys’ lives, showing joy and resilience even after the devastation of losing Karon. In the first photograph from 2019, Karon’s brother can be seen in the frame along with three friends. Holding Onto Innocence shows the boys, a year older, at a playground where they spent much of their youth. Youthful Memories again revisits the playground, where the then-16-year-old boys look back at older photographs of themselves on a phone, bringing the series to a full circle. Creator An entity primarily responsible for making the resource Beverly Price Date A point or period of time associated with an event in the lifecycle of the resource 2022 Format The file format, physical medium, or dimensions of the resource Silver gelatin on aluminum Dibond https://contemporaryartumd.artinterp.org/omeka/files/original/fa23e45f4f265b015cdff449cee791e1.jpeg 2150cd21d9fdc94095fc7c40121e79fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holding on to Innocence (from the "Royal Blue" series) Description An account of the resource Beverly Price began exploring photography in 2016 as she witnessed the rapid gentrification of her birthplace of Washington, DC. She decided to pick up the camera to document the stories of her fellow DC natives. The Royal Blue Series follows the aftermath of the murder of 11-year-old Karon Brown in Washington, DC, and its effects on his close family and friends. Price began documenting Karon’s brother and friends in July 2019 when they were 13. She revisited them in 2022 to document their grief, healing, and growth. This selection of photographs from the series span these three years in the boys’ lives, showing joy and resilience even after the devastation of losing Karon. In the first photograph from 2019, Karon’s brother can be seen in the frame along with three friends. Holding Onto Innocence shows the boys, a year older, at a playground where they spent much of their youth. Youthful Memories again revisits the playground, where the then-16-year-old boys look back at older photographs of themselves on a phone, bringing the series to a full circle. Creator An entity primarily responsible for making the resource Beverly Price Date A point or period of time associated with an event in the lifecycle of the resource 2022 Format The file format, physical medium, or dimensions of the resource Silver gelatin on aluminum Dibond https://contemporaryartumd.artinterp.org/omeka/files/original/d9bd71259a7b582bb0890c6bf33f40bb.jpeg 9e974dc71cbfaa98a9cf1eb1aa127540 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource We the Children (from the "Royal Blue" series) Description An account of the resource Beverly Price began exploring photography in 2016 as she witnessed the rapid gentrification of her birthplace of Washington, DC. She decided to pick up the camera to document the stories of her fellow DC natives. The Royal Blue Series follows the aftermath of the murder of 11-year-old Karon Brown in Washington, DC, and its effects on his close family and friends. Price began documenting Karon’s brother and friends in July 2019 when they were 13. She revisited them in 2022 to document their grief, healing, and growth. This selection of photographs from the series span these three years in the boys’ lives, showing joy and resilience even after the devastation of losing Karon. In the first photograph from 2019, Karon’s brother can be seen in the frame along with three friends. Holding Onto Innocence shows the boys, a year older, at a playground where they spent much of their youth. Youthful Memories again revisits the playground, where the then-16-year-old boys look back at older photographs of themselves on a phone, bringing the series to a full circle. Creator An entity primarily responsible for making the resource Beverly Price Date A point or period of time associated with an event in the lifecycle of the resource 2019 Format The file format, physical medium, or dimensions of the resource Silver gelatin on aluminum Dibond https://contemporaryartumd.artinterp.org/omeka/files/original/fc29ce3a5b4dacac4d6e985bc45f8196.jpg e2098352fc79f50d22656f14c59cae82 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Screenprint and gold leaf on paper Physical Dimensions The actual physical size of the original image Image: 30 x 22 inches; Framed: 39.5 x 31.25 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Game Changing (Ace) Description An account of the resource From the series "Game Changing" Derrick Adams’s Game Changing transforms familiar “face cards” from a standard deck of playing cards into images of black royalty. They remix and interrogate the symbolic codes underlying coats of arms and other medieval heraldry devices that inform card design. Adams drew inspiration from the modern American artist Romare Bearden (1911–1988), whose epic collages layer geometric forms and jewel-toned hues to explore African American life and history. Adams constructed his “playing cards” in segments of brilliant color. He screenprinted four layers of acrylic ink to their surfaces—black, blue, red, and yellow—and then, while the yellow ink was still wet, applied 23.5 carat gold leaf. As the ink dried the gilding abraded slightly, giving texture and individuality to each print. The result is a set of precious objects, each with a presence surprisingly unlike the mass-produced item it recalls. Publisher An entity responsible for making the resource available Lower East Side Printshop Date A point or period of time associated with an event in the lifecycle of the resource 2015 Rights Information about rights held in and over the resource Image courtesy of Lower East Side Printshop Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.1 Creator An entity primarily responsible for making the resource Derrick Adams