The JKM Library Blog

October 2020

(A)bridging Community: Social Responsibility During Multiple Pandemics October 18, 2020 by library | 0 comments Welcome to (A)bridging Community: Social Responsibility During Multiple Pandemics, a virtual art exhibition curated by Chatham University student Chenoa Baker (’21, Cultural Studies) and hosted by the Jennie King Mellon Library. Starting October 18th , 2020, carefully selected pieces of art and corresponding library resources will be posted to the JKM Library’s Instagram and Facebook feeds over the course of a week. The entire exhibition (including information on the artwork, artists, and library resources) has been gathered together here as well. Curatorial Statement “We live in a moment that exposes our interconnections. They exist as bifurcations: an afterthought for some and constant reminders of inequalities as well as white supremacist capitalist patriarchy for others. At the intersection of two pandemics, we see that the innocent bystander is complicit, the moderate is a danger, and without bridging these connections with compassion, we sever the bridge we stand on and crumble into the water.” Selected Works Kim, Byron. Synecdoche. 1991, National Gallery of Art, Washington, DC. Byron Kim (b.1961) is a contemporary Korean-American artist who explores racial identity through minimalist art. Synecdoche, one of his most famous artworks, is a collection of paint swatches matched to random sitters of different races. Some view this work as a collage of people, their untold stories, and the color of their skin speaking for them. Others may see this as a variety of people who are individuals part of the whole; similarly, the squares, put together, represent the human race. Shimoyama, Devan. February II. 2019. Devan Shimoyama (b. 1989) is a Pittsburgh-based artist and Assistant Professor at Carnegie Mellon University. Shimoyama creates renderings of glittery fantasies and anxieties around navigating Blackness and queerness. He creates images with paint, collage, and glass to communicate his message. February II, dedicated to Trayvon Martin, signifies the innocence of Black children killed by police brutality by representing them with an article of clothing—the hoodie. The hoodie masks their true identity and skews their adolescence because of the lens of white supremacy. White supremacy obscures the child inside into a perception of suspicion. (Follow on Instagram @DevanShimoyama) Ballard, Lavett. Hear My Call. 2020. Lavett Ballard (b.1970) is a collage artist, curator, and art historian. She primarily uses the medium of wooden fences and wood. She reclaims this wood to represent a retelling of Black history. In her work of Breonna Taylor, Hear My Call, she celebrates her life and the collective that shaped who she was. There are motifs of flowers, circles, and a butterfly to represent femininity, softness, and transition of her life. Typically, in Black tradition, death is accompanied by a celebration of life, a time to dwell in grief and deep lamentation and to remember the interconnected network of ancestors that welcomes the deceased person into the fold. (Follow on Facebook at @LavettBallardArt) Benjamin, Gavin. Dressed to Kill no. 1 (Hoodie). 2020, Parlor Gallery, Asbury Park, NJ. Gavin Benjamin (b.1971) is a Guyanese Pittsburgh-based artist that works in paint and a variety of appliqued materials. His most famous series is Heads of State, which depicts portraits of Black royalty in a distinct Neo-Baroque style. In Dressed to Kill, Benjamin layers images onto the subject’s hoodie and face. On the subject are images of protests, George Floyd’s phrase during the time of his death “I can’t breathe,” and Skittles and Arizona drinks that Trayvon Martin and others picked up from a corner store before their deaths. All of these markers on the body and provocative title, stresses that victims of police brutality are dressed in a multilayered story ignored during their murder. (Follow on Instagram @gavinbenjamin) Leff, Rosa. The Real Pandemic. 2020, private collection. Rosa Leff is an artist and educator that is known for her paper cutting prowess. She cuts elaborate cityscapes by hand and by X-Acto knife. The Real Pandemic is an accumulation of already present pathologies—systemic racism, a failing healthcare system, and broken economic infrastructure. Through the pandemic, it shows that we lost some of our main tenants of community. While we revisit this concept, police are central to the narrative of state power that was never created for the community and only disrupts it more by metaphorically tearing down bridges and literally ripping apart families. (Follow on Instagram @rosaleff) Click on the images below to view enlarged versions. Synecdoche February II Hear My Call Dressed to Kill no. 1 (Hoodies) Dressed to Kill no. 2 (Hoodies) Dressed to Kill no. 3 (Hoodies) Dressed to Kill no. 4 (Hoodies) The Real Pandemic Library Resources Art can be described as the culmination of cultural, social, and historical context into statements, stories, and expression of creativity. Knowing that context can dramatically change the reading of a piece, but it is not always necessary to appreciate the work. At the Jennie King Mellon Library, we do believe that discovering and understanding the context behind a piece of information (such as a work of art) is critical to full understanding. We try to communicate that importance through our work as library and information professional. To that end, here is a list of resources that we feel can help aid in building your personal understanding of the context behind these pieces. Library Books If Beale Street Could Talk by James Baldwin | Call Number: 813.54 B2i | ISBN: 0803741693 Killing Rage: Ending Racism by bell hooks | Call Number: 305.800973 H784k 1995 | ISBN: 9780805050271 Privilege: A Reader edited by Michael S. Kimmel and Abby L. Ferber | Call Number: 305.09 P738k | ISBN: 9780813344263 Southern Horrors and Other Writings by Ida B. Wells-Barnett | Call Number: 323.092 W34Sr (and eBook) | ISBN: 9781505259605 Stamped from the Beginning: The Definitive History of Racist Ideas in America by Ibram X. Kendi | Call Number: 305.800973 K352S | ISBN: 9781568584638 The Souls of Black Folk by W. E. B. Du Bois | eBook | ISBN: 9780300195828 They Can’t Kill Us All: Ferguson, Baltimore, and a New Era in America’s Racial Justice Movement by Wesley Lowery | Call Number: 305.896 L687T | ISBN: 9780316312479 What Doesn’t Kill You Makes You Blacker: A Memoir in Essays by Damon Young | Call Number: 973.0496 Y685W | ISBN: 9780062684301 Who Do You Serve, Who Do You Protect?: Police Violence and Resistance in the United States by Alicia Garza (Foreword by); Maya Schenwar (Editor); Joe Macaré (Editor); Alana Yu-lan Price (Editor) | eBook | ISBN: 9781608466849 Women, Race & Class by Angela Y. Davis | Call Number: 301.412 D291w | ISBN: 0394713516 Other Library Resources Issues & Controversies Database Issues & Controversies is a wonderful tool for both academic and personal use. Focusing on controversial topics such as systemic racism, Issues & Controversies gathers pro-con articles, primary source material, news publications, various media content, court cases, editorials, etc. to help offer a wellrounded view of difficult topics we see on the news and in life. It is an excellent tool for helping build context and understanding around some of the most hot-button topics of the day. Adam Matthew Collection The Adam Matthew Collection contains multiple relevant collections of primary source materials that touch on America’s history with white supremacy, Civil Rights, enslavement, and race relations. These materials are important when becoming familiar with our own history, especially when looking at the role community plays. Documents, newspapers, images, illustrations from the time, artifacts, and more all ground researchers in the correct historical context. African American Communities: Focusing predominantly on Atlanta, Chicago, New York, and towns and cities in North Carolina this resource presents multiple aspects of the African American community through pamphlets, newspapers and periodicals, correspondence, official records, reports, and in-depth oral histories, revealing the prevalent challenges of racism, discrimination and integration, and a unique African American culture and identity. Race Relations in America: Documenting three pivotal decades in the fight for civil rights, this resource showcases the speeches, reports, surveys, and analyses produced by the Department’s staff and Institute participants, including Charles S. Johnson, Dr. Martin Luther King, Jr., and Thurgood Marshall. Slavery, Abolition & Social Justice: This resource is designed as an important portal for slavery and abolition studies, bringing together documents and collections covering an extensive time period, between 1490 and 2007, from libraries and archives across the Atlantic world. Close attention is given to the varieties of slavery, the legacy of slavery, the social justice perspective, and the continued existence of slavery today. Do Not Resist | Streaming on AVON DO NOT RESIST is an urgent and powerful exploration of the rapid militarization of the police in the United States. Starting on the streets of Ferguson, Missouri, as the community grapples with the death of Michael Brown, DO NOT RESIST – the directorial debut of DETROPIA cinematographer Craig Atkinson – offers a stunning look at the current state of policing in America and a glimpse into the future. The Hate U Give | Media Shelves | 791.4372 H283t Amandla Stenberg, Regina Hall, Russell Hornsby, Anthony Mackie, Issa Rae, Algee Smith, K.J. Apa, Common. Starr Carter navigates the perilous waters between her poor, black neighborhood and her prestigious, mainly white private school. This all changes when she finds herself in the middle of racial activism after her best friend is shot by police officers, and she’s forced to make a decision. Allow the media to skewer her friend to protect the status quo, or stand up and tell the truth in memory of Khalil? Roots | Media Shelves | 791.4372 R678h An adaptation of Alex Haley’s “Roots”, in which Haley traces his African American family’s history from the mid-18th century to the Reconstruction era. You can find more relevant resources on our Black Lives Matter resource guide. 

August 2014

June 2014

November 2011

We are continuously fascinated by works of art and the lives of the artists who create them. From the Agony and the Ecstasy to the Girl with a Pearl Earring novelists and filmmakers create their own works based on the lives and works of some of our greatest artists. Recently, Broadway gave us Red, a look at a series of works of Mark Rothko, My Faraway One let us peek at the love letters between Georgia O’Keefe and Alfred Stieglitz, and this month we are given a new perspective on the death of Vincent Van Gogh. For November the book display focuses on the lives of artists: their upbringing, family, personal and professional development, romantic and platonic relationships, and often, end of life.
The first author to write an artists’ biography was Georgio Vasari. First published in 1550, Lives of the Artists gave factual and anecdotal accounts of the Early and High Renaissance artists. Throughout the decades, biographers have looked to many sources to tell the artist’s story, correspondences, close friends, and of course, their paintings. For some such as Frida Kahlo, their lives are inextricably tied to their work. For others such as Caravaggio and Toulouse-Lautrec, their personal lives are as fascinating and poignant as their art. It is the job of the art historian and the casual viewer alike to decide how much s/he want to read into an artist’s works their personal life. Do you think it is possible to have a work stand alone or is a piece of the artist always in his/ her work? Often taking themselves as subject the artist reflects how s/he sees himself and what parts they wish to show the viewer. This type of autobiography allows writers and art historians to further construct the artist biography and readings of their works. So, can you see the artists in their work hung on the display in the library? The answers are below.
1. Soft Self-Portrait with Fried Bacon, Salvadore Dali, 1941.
2. Self-Portrait (in Drag), Andy Warhol, 1981.
3. Self-Portrait as Baccus, Michaelanglo Merisi de Carravaggio, 1593.
4. Self Portrait with a Sunflower, Anthony van Dyck, 1633.
5. Self Portrait, Francis Bacon, 1973.
6. Self-Portrait Dedicated to Dr. Eloesser, Frida Kahlo, 1940.
7. Self Portrait, Artemisia Gentileschi, c. 1630.
8. Self-Portrait, Vincent Van Gogh, 1889.
9. Self-Portrait, Pablo Picasso, 1906.
~Display and blog post by Donna Guerin, Reference Associate