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- - - - Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) "Harper’s Pictorial History of the Civil War (Annotated) is a series of fifteen prints based on the two-volume anthology published in 1866. To create her prints, Walker enlarged select illustrations and then overlaid them with large stenciled figures. The shadowy images visually disrupt the original scenes and suffuse them with traumatic scenarios left out of the official record. Mangled and grotesque figures escape the boundaries of the anthology’s pictures, expanding into the margins and the space of real life." (2005)
        https://americanart.si.edu/exhibitions/walker
    - - Confederate soldiers stand defiant before a Union general, even after the war is over. Winslow Homer, Prisoners from the Front, 1866.
      - Storms were a frequent metaphor for the conflict, both before and during. Sanford Gifford, A Coming Storm, 1863.
- - - - This is me. A Mixed Latin American young adult, consumer, artist, lover of most people--regardless of color. I have lived most of my life believing--for the most part--that racism was a thing of the past. The last few years, as a result, have really shook me as all of a sudden racism is a topic of interest in the news and in conversations in my personal life. This newness speaks to the very little education I received on the realities of American history. This speaks to the watered down, often misunderstood "multicultural education" I got every February during Black History Month. Lastly, it speaks to my own experience, often detaching from my heritage because I did not understand where I fit in, or maybe because I did not want to deal with it.
    - - https://news.artnet.com/art-world/whitney-biennial-christopher-lew-dana-schutz-906557
    - - https://news.artnet.com/art-world/dana-schutz-painting-emmett-till-whitney-biennial-protest-897929
      - This was the first time I ever heard the story of Emmett Till. In an art history class, responding to contemporary art news.
- - - - Athletes TAKE A KNEE - 2017
        
        https://www.newyorker.com/culture/annals-of-appearances/what-will-taking-the-knee-mean-now
      - Unite the Right rally, Charlottesville, VA - 2017 http://time.com/charlottesville-white-nationalist-rally-clashes/
        
        English Comedian John Oliver tackles the Confederate Monument Debate October 2017 http://thehill.com/blogs/ballot-box/354510-john-oliver-takes-on-confederate-statues
    - - Whitney Biennial, 1993 http://www.nytimes.com/1993/03/05/arts/at-the-whitney-a-biennial-with-a-social-conscience.html?pagewanted=all
- - - - The intent behind "Black History Month" is pure, but what often results is continued marginalization of black history in America. But when something or someone is underrepresented, a supplement is necessary and is often segregated. ie: Black History Month in public education, BET, Jet Magazine, and other outlets specifically designed for minorities who have been and are still often left out of the mainstream.
  - - - Jacob Lawrence (American, 1917–2000). Soldiers and Students, 1962. Opaque watercolor over graphite on wove paper, 22 7/16 x 30 7/16 in (57 x 77.3 cm).
    - - David Hammons (American, born 1943). The Door (Admissions Office), 1969. Wood, acrylic sheet, and pigment construction, 79 x 48 x 15 in. (200.7 x 122 x 38.1 cm).
    - - Norman Rockwell (American, 1894–1978). New Kids in the Neighborhood (Negro in the Suburbs), 1967. Oil on canvas, 36 1/2 x 57 1/2 in. (92.7 x 146.1 cm).
  - - - http://adage.com/article/adage-encyclopedia/minorities-representations-advertising/98780/
      - Kara Walker, A Subtlty or the Marvelous Sugar Baby, 2014
        "The very long subtitle of Walker's first ever public-art project reads an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant. While the word artisan is a bit vague, the subject of sugar is certainly in keeping with the artist's career-long investigation of the historical wages of slavery and racism. Sugar was a key leg of the so-called triangle trade that traversed the Atlantic between the 16th and 19th centuries, as European slavers brought their human cargo to the Caribbean in exchange for molasses, which was then transported back to the Continent to be made into rum. Meanwhile, the subtlety of the title refers to sugar sculptures that once adorned the tables of the rich and powerful in Medieval Europe—which, given the rarity and expense of the substance at the time, were meant as displays of wealth. Accordingly, Walker's project for the old Domino Sugar factory in Williamsburg, Brooklyn centers on a giant female sphinx made of the sweet stuff. Although the installation relates to the site's past, it retains a sphinxlike silence about the location's future as a complex of office and residential towers along the Williamsburg waterfront."
        https://www.timeout.com/newyork/art/kara-walker-interview-the-whole-reason-for-refining-sugar-is-to-make-it-white
      - ADVERTISING TODAY
        
        Minimizing and monetizing off of BLACKLIVESMATTER
        
        NOVEMBER 2017 -- Adobe releases a new study, Creativity’s Diversity Disconnect, which "sheds light on the diversity issues faced by the advertising industry."
        http://www.adweek.com/agencies/new-adobe-study-highlights-diversity-issues-in-the-advertising-industry/
        
        https://www.slideshare.net/adobe/creativitys-diversity-disconnect
        
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        ADCOLOR is a nonprofit whose "GOAL IS TO CREATE A COMMUNITY OF DIVERSE PROFESSIONALS WHO ARE HERE TO SUPPORT AND CELEBRATE ONE ANOTHER.
        Our process is twofold. First, we help individuals and organizations RISE UP, letting their accomplishments and ideas shine. Then we teach these new leaders and would-be mentors how to REACH BACK and find others who deserve to be noticed and promoted."
        
        "The world is stagnant with sameness. That’s why we want people to stand out and be different. To go beyond labels and shine as individuals with unique perspectives and personalities. We want companies to recognize these different people not as quotas, but as assets who bring new, fresh and brilliant ideas to every business."
        
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