Photography jobs

COLORS & Body of Forensics Opening Reception: An Exhibit of HKS Student Photographs

Celebrate the opening of an exhibition of HKS student photographs, now on view in the HKS Library Common Room (Littauer ground floor, left of the main library entrance). This will be a catered reception.

The exhibition includes two projects:

COLORS

(Curatorship and description by Thomas Bishop, MC/MPA ’22).

COLORS is a project about perspective and light. The reflection of light changes the hue, saturation, saturation and vibrance of the color. We are all reflections of light. Bright, brilliant light creates beautiful colors. A change in perspective creates a change in how the subject reflects on the viewer. This is true of all colors. This is also true of how we see people of color. Your perspective on them changes how they reflect on you. White is one extreme on the color scale. It reflects light of all hues. White is considered good, pure, innocent. Black is the other extreme on the color scale. It absorbs all the light. It is darkness. Black is considered evil, scary and evil. COLOR images use bright, shiny colors. He also uses bright, shiny people of color. They are all lightweight. They are all beautiful. Change your point of view.

Photographers:

Chuck Bell, MC/MPA ’22

Thomas Bishop, MC/MPA ’22

Ada Ezeokoli, MP 22

Kwamoka Kiangoi, MPA ’22

Tisa Smart-Washington, MC/MPA ’22

Rico Washington, interdisciplinary artist

Corps of Forensic Medicine

(Photograph and description by Anandana Kapur, MC/MPA ’22).

Darkness existed before your political consciousness recognized it. The outlines of the colored bodies, the textures of their skin and the traces of themselves are available for those who seek. This curation/co-creation of “found” images – which pre-exist in the public domain – is to offer the provocation we need to reimagine and not necessarily reinvent the way we gather evidence, testify and bear witness to the truths of our era. The criminalistics of everyday life is both an artistic and a political opportunity to (re)claim the presence of the silenced other. Just as these images exist in the commons, so do the stories and contributions of black, brown, and colored lives. We remain and existed before ‘rights’ and ‘visibility’ were given to us. Among these framed fragments are textures, people and memories that exist in our everyday lives but remain so deeply entangled in the tapestry of mainstream comfort that we are unable to recognize them until they are refracted back to through art.