We asked our spring 2021 intern Holland to complete one of the activities in our Teaching Resource packet created for the "Larson Shindelman: Geolocation" exhibition. Holland chose this prompt: “A time capsule is a collection of objects put together to preserve the memory of a place, experience, or group of people at one point in time. People often make time capsules for special public occasions, and for others to open many years in the future. You can make one to celebrate a family event, to remind you of a special experience, or to remember friends, family, or school – or something else important to you." READ WHOLE POST [+]
The piece by Larson Shindelman that particularly blew me away was the one titled Have My Location, 2011 there is something so intriguing about the assembly of orange bushes in such a clearly rural setting, paired with a tweet that reads “These tweets have my location?” Not only is it hard to tell exactly where “my location” is from this image but the bushes are full enough that it appears as though one could get away with hiding and disappearing into them. This rustic feeling further pushes the idea of nature as an escape from our reality, which is crucial when the modern world revolves around technology and will only continue to do so. READ WHOLE POST [+]
Coming freshly out of the College of Charleston as an Art History major, one of the most important things I’ve learned is how to build deeper connections. The Larson Shindelman exhibition evokes this same set of skills from its audience. The two artists invite their audience to make connections between a tweet made by a certain anonymous author and the visual photograph captured by the artists in the specific Geolocation of where the tweet was posted. The most direct connection between a tweet and a photograph is they both serve as markers for a certain place and moment in time. It is our job as the audience to find even deeper connections between these two markers when presented together. READ WHOLE POST [+]
Ever since I was a little girl, roller coasters have terrified me. Not only roller coasters, but any amusement park ride that is seemingly more “thrilling” then a merry-go-round. The extreme heights and the intense speed always seem to make my stomach drop and my forehead start to sweat. So, when I came across this piece in the Larson Shindelman exhibition Geolocation, I immediately felt a sense of familiarity with the tweet that was posted along with the photograph. READ WHOLE POST [+]
The Larson Shindelman geolocated tweets serve as a powerful contrast between our digital and physical environments. By showing desolate, often dilapidated, areas accompanied by thoughts turned to text, the images create their own eerily still chaos; they seem strangely “loud” given their banal subjects. The tweets, however, are eclectic, and often passionate, adding to the overall “volume” of the piece. READ WHOLE POST [+]
Initially the viewer is presented with the imagery of a landscape, which features a house that is surrounded by trees, followed by the caption, “Amy is Dying”. The viewer might conclude that both this seemingly mundane photograph and the macabre caption are unrelated to each other. Upon closer inspection, there’s one dead tree that is just to the left of the composition that contrasts greatly to the other trees that are saturated with green leaves. READ WHOLE POST [+]
Lonnie Holley is a wise and imaginative person. Not only is he recognized for his visual art, but he is also an experimental musician, both of which have allowed him to travel around the world. His creativity comes from struggle, hardship, furious curiosity, and ambition. Born in 1950 as the seventh of twenty-seven children, his early life was tumultuous. His mother gave him away to a burlesque dancer and he never experienced a real childhood. At the age of eleven, he was sent to the Alabama Industrial School for Negro Children, a modern-day slave camp where Holley endured horrific treatment. “To some, there was no schooling,” he said. Holley states that he didn’t really know who he was until later as a teenager. READ WHOLE POST [+]
Our intern Isabel curated poetry in response to Dis/placements: Revisitations of Home. The poems dive into this home/displacement dynamic, exploring shifting borders and disappearing communities, the tension between actual and emotional homes, the lives of homeless citizens, home in the context of the family and the struggle of being unable to return to home, and the ability of home to bear witness to personal history.
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Stout realized that this alter ego helped her get through a variety of personal and social issues, and as a result she started to mature into this person who she aspired to be. “Each of us knows who we really hope we could be. If we didn’t have societal and familiar constraints, people projecting things on us, who do we really want to be for us? That’s the process of self-discovery.” she explained in her Dis/placements Conversation with Thetyka Robinson. READ WHOLE POST [+]
Birds, women, symbols of celebration, symbols of Chinese communism and at its core an uncertainty involving one’s self. Hung Liu’s work defies time with clashes of China’s rapid modernisation and desperate push against the past. Depictions of traditional Chinese art and culture are juxtaposed with bright slashes of red - a symbol of celebration in China and yet a harsh reminder of the communist rule and the bloodshed during the Civil War that displaced Liu. READ WHOLE POST [+]
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