1 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/1a475abfd074bbbd8d231b88bde74931.jpg 815e8fa5b1a30863bc3dc4b923c69f82 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 inkjet photograph Physical Dimensions The actual physical size of the original image Image: 24 x 30 in. Framed: 25 x 31 in. 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 Ashes Series: Dark Palace Creator An entity primarily responsible for making the resource Wafaa Bilal Date A point or period of time associated with an event in the lifecycle of the resource 2003–2013 Rights Information about rights held in and over the resource Image Courtesy of Driscoll Babcock Galleries Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Description An account of the resource In 1992, Iraqi-born artist Wafaa Bilal arrived in the United States, having fled Saddam Hussein’s regime and spent two years in refugee camps. More than a decade later, he watched the American war in Iraq unfold in the media and claim the lives of his brother and father. Seeking connection with home, Bilal began to collect news photographs of domestic spaces in Iraq that were destroyed by violent conflict. This work is based on an image of one of Saddam Hussein’s palaces. Bilal reconstructed these images painstakingly by hand as miniature models, using materials like cardboard and plaster. For the artist this process provided, “a way for me to exist within . . . and, in a sense, to rebuild the places in Iraq where my brother and father were killed.” Before photographing the models, Bilal dusted them with 21 grams of human ashes. It is this pale substance that appears as a soft, luminous glow at the center of the photograph, a palpable reminder of human presence even where it is difficult to detect. Identifier An unambiguous reference to the resource within a given context 2015.1.5 https://contemporaryartumd.artinterp.org/omeka/files/original/46c76fb3bdfaeb33b8b8b811ffb019ee.jpg 48f2332a80f82e495075b235e49687ce 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 Color coupler print Physical Dimensions The actual physical size of the original image Framed: 25.25 x 29.25 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 Auguststrasse/Ecke Tucholskystrasse, Berlin Description An account of the resource From the series "The Writing on the Wall" Shimon Attie’s photographs reflect on the relationship between place, memory, and identity. To make the “Writing on the Wall” series to which this work belongs, Attie gathered archival photographs taken before World War II of street life in one of Berlin’s former Jewish quarters. He projected slides enlarging these historical images onto the locations where they were originally made and then photographed the results of his projection at night. The photographs seem to make the invisible visible, giving temporary form to memories and now hidden aspects of a place. They present the past as a flickering apparition in the present. To make this particular photograph, Attie projected a snapshot from 1930 of the Torah Talmud School onto the building it used to occupy at the corner of August and Tucholsky Streets. Date A point or period of time associated with an event in the lifecycle of the resource 1993 Relation A related resource 2006-2007 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 2007.1.1 Creator An entity primarily responsible for making the resource Shimon Attie Rights Information about rights held in and over the resource ©Shimon Attie. Courtesy of the artist and Jack Shainman Gallery, New York. https://contemporaryartumd.artinterp.org/omeka/files/original/08ef398215867a9c696344ce8a26c079.jpg 7658eca72289d16e2365777c5376728f 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 Digital C-Print. Edition of 5. Physical Dimensions The actual physical size of the original image Image: 60 x 60 inches; Framed: 63.25 x 63.25 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 Untitled #131 (Llama) Description An account of the resource From the Series "Until the Kingdom Comes" In his ongoing series “Until the Kingdom Comes,” to which this monumental portrait of a llama belongs, Simen Johan probes the boundaries between nature and artifice, reality and illusion, fantasy and nightmare. The exquisitely detailed image appears to capture the animal standing proudly in its own lush outdoor habitat. Johan has manipulated the photograph, however, using a variety of digital and sculptural devices to exaggerate the llama’s body and relocate it in an enhanced bucolic landscape. The result is a llama that bears an uncanny resemblance in its grooming to a coiffed poodle, its coat echoing the eerie whitish-grey mountain range in the distance. Adding a further sense of disorientation to the constructed scene are the other llamas visible in the background that appear to observe the central subject with some interest. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Relation A related resource 2006-2007 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 2007.1.2 Creator An entity primarily responsible for making the resource Simen Johan https://contemporaryartumd.artinterp.org/omeka/files/original/7c93d464bde92f1ea0466527d413e5f9.jpg 7a36aed69384e82c2e6e445d40003ebf 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 Fujiflex print. Edition 2 of 5. Physical Dimensions The actual physical size of the original image 28.25 x 21.25 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 The Tourist Project (13) Description An account of the resource From the series "Projects (1997-2001)" In this acclaimed series of work, Nikki S. Lee pictures herself posing as a member of various social scenes and cultural groups—hip-hop artists, senior citizens, skateboarders, yuppies, punks, exotic dancers, tourists, and rural white Americans. Lee transforms herself through clothing and makeup, gesture and demeanor, to integrate into each target group. Here she makes herself into the stereotype of a tourist by donning sunglasses, fanny pack, and camera bag. She performs a role in this imaginary Ohio household with blonde hair, jean shorts, and automobile-oriented pose. Lee’s photographs question the structures through which identities are determined, asking whether identity may be more fluid than such demographic categories assume. Date A point or period of time associated with an event in the lifecycle of the resource 1997 Relation A related resource 2006-2007 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 2007.1.3 Creator An entity primarily responsible for making the resource Nikki S. Lee Rights Information about rights held in and over the resource © Nikki S. Lee https://contemporaryartumd.artinterp.org/omeka/files/original/fc58f74d255efbe8ad1cd48b01a894ac.jpg 3010911668a42251bc6f541027ef692c 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 Fujiflex print. Edition 4 of 5. Physical Dimensions The actual physical size of the original image 21.25 x 28.25 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 The Ohio Project (6) Description An account of the resource From the series "Projects (1997-2001)" In this acclaimed series of work, Nikki S. Lee pictures herself posing as a member of various social scenes and cultural groups—hip-hop artists, senior citizens, skateboarders, yuppies, punks, exotic dancers, tourists, and rural white Americans. Lee transforms herself through clothing and makeup, gesture and demeanor, to integrate into each target group. Here she makes herself into the stereotype of a tourist by donning sunglasses, fanny pack, and camera bag. She performs a role in this imaginary Ohio household with blonde hair, jean shorts, and automobile-oriented pose. Lee’s photographs question the structures through which identities are determined, asking whether identity may be more fluid than such demographic categories assume. Date A point or period of time associated with an event in the lifecycle of the resource 1999 Relation A related resource 2006-2007 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 2007.1.4 Creator An entity primarily responsible for making the resource Nikki S. Lee Rights Information about rights held in and over the resource © Nikki S. Lee https://contemporaryartumd.artinterp.org/omeka/files/original/3c825bf996b2376478f809c46f662eb7.jpg 34c52f3dc7b83e47b304e7f01efd2287 https://contemporaryartumd.artinterp.org/omeka/files/original/f05a16e57379f5fef48d79e79e7bdd19.JPG 979414379f14685038ac00bc808a259c https://contemporaryartumd.artinterp.org/omeka/files/original/a31497c8e564ba0fe53ae8ce2009c18c.JPG 294c3379539e12c98b226f62e8a25e10 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 Latex, ink, enamel, and oil on canvas Physical Dimensions The actual physical size of the original image 60 x 40 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 Throw Date A point or period of time associated with an event in the lifecycle of the resource 2006 Relation A related resource 2006-2007 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 2007.1.5 Creator An entity primarily responsible for making the resource Maggie Michael Description An account of the resource Throw belongs to a group of paintings by Maggie Michael that explore the tension between destruction and repair, control and release. Using an array of action painting techniques (spray-painting, dripping, precision brushwork), Michael imbues her large-scale paintings with movement and emotion. Their textured forms vacillate, suggesting biomorphic shapes such as veins and ventricles tangled in devices of communication such as illustration graphics and graffiti tags. Michael’s works are energetic and unpredictable and invite viewers to interpret them through their own experiences. According to the artist, “Whatever I think of, no matter what it could be, will be made to work together. Anything can be resolved. It is just a matter of how you approach it.” https://contemporaryartumd.artinterp.org/omeka/files/original/b5fa342202a2fd6fb14f901dcbab0b19.jpg 2b807bd2593580d113868e5770763f00 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 LightJet print mounted front and back to plexiglass. Edition 1 of 3. Physical Dimensions The actual physical size of the original image Image: 20 x 60 inches; Framed: 24.5 x 64.5 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 My Name is for My Friends Description An account of the resource From the series Limbicwork In 2005, Susan Rankaitis created Limbicwork, a public installation at an open-air museum in Vilnius, Lithuania. Working with a group of young, local artists, Rankaitis suspended brightly colored plastic tubing from trees in a densely forested area outside the city where Jewish people had been massacred and buried in mass graves by the Nazis between 1941 and 1944. The artists arced and looped the tubing to mimic the shape of the limbic system, a complex collection of structures in the brain believed to influence the formation of memories by connecting emotion to physical sensation. Rankaitis then photographed the installation, memorializing it with images such as the two prints juxtaposed almost seamlessly here. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Relation A related resource 2006-2007 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 2007.1.6 Creator An entity primarily responsible for making the resource Susan Rankaitis Rights Information about rights held in and over the resource © Susan Rankaitis, courtesy Robert Mann Gallery https://contemporaryartumd.artinterp.org/omeka/files/original/875aea1a0b381259a23662aef03157bd.jpg a01118947eda180db56c0e2b16b18db4 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 Digital Chromogenic print. Edition 8 of 10. Physical Dimensions The actual physical size of the original image Image: 27 x 34 inches; Framed: 28 x 38.5 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 Silver Lake Operations #1, Lake Lefroy, Western Australia Description An account of the resource From the series "Mines" Edward Burtynsky’s work explores the theme of nature transformed through industry. He travels internationally to make vibrant photographs of places generally unfamiliar to the public—quarries, refineries, recycling yards, and mines. Here he captures an aerial view of a goldmining operation in Western Australia. The photograph is aesthetically beautiful yet its subject raises concerns about the impact of human beings on the environment. The artist explains: “These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire—a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success.” Date A point or period of time associated with an event in the lifecycle of the resource 2007 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 2009.1.1 Creator An entity primarily responsible for making the resource Edward Burtynsky Rights Information about rights held in and over the resource © Edward Burtynsky 1985-2013, All Rights Reserved 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