O'Sullivan Road

Posts Tagged ‘North Carolina

08.12.13 Cherokee: Soco Road

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Earlier this year I began visiting the Cherokee Reservation in the western hills of North Carolina. I’m drawn to intersections of cultural politics, geography and historical events that have marginalized communities and individuals. This interest has led me to the townships of South Africa, Democratic Republic of Congo, and now western North Carolina. I don’t know what Cherokee will reveal to me about itself, or about myself. The history of the Cherokee people and the lands on which they live is deep and complicated and still unfolding, as is the history of the ways they have been represented.

terrain-lines_2q3e9QgvL6ETerrain (Lines). Cherokee, NC.
© Stamen Design, under a Creative Commons Attribution (CC BY 3.0) license.

Cherokee_0181Entering Cherokee on Soco Road. Cherokee, NC. August 2013.

Cherokee_0163New Railing. Cherokee, NC. August 2013.

(Earlier posts on this topic can be seen here.)

Written by Sarah Stacke

August 12, 2013 at 1:49 pm

06.30.12 Keep All You Wish Installation

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Keep All You Wish: The Photographs of Hugh Mangum is a an exhibition I curated, which is currently on display at Duke University’s Center for Documentary Studies.  To learn more about this project, please follow these links: http://www.sarahstacke.com/keep-all-you-wish/  and  http://exhibits.library.duke.edu/exhibits/show/hughmangum/

120530_keepallyouwish_installation_001

Written by Sarah Stacke

June 30, 2012 at 9:46 am

04.28.12 Hugh Mangum: Keep All You Wish

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Keep All You Wish: The Photographs of Hugh Mangum
April 30–October 20
Lyndhurst Gallery, Center for Documentary Studies
1317 W. Pettigrew St.
Durham, North Carolina

Keep All You Wish: The Photographs of Hugh Mangum features a selection of turn-of-the-twentieth-century portraits from the Hugh Mangum Collection, preserved within Duke University’s David M. Rubenstein Rare Book and Manuscript Library. Born and raised in Durham, North Carolina, Mangum began establishing studios and working as an itinerant photographer in the early 1890s, traveling by rail through North Carolina, Virginia, and West Virginia. Rare for his time, Mangum attracted and cultivated a clientele that drew heavily from both the African American and white communities, especially in his hometown. In Mangum’s lifetime he likely exposed thousands of glass plate negatives; sadly most of those were destroyed through benign neglect after his death or are now lost, as are any records of the names and dates associated with the images.

In 1922, six weeks before his death at age forty-four, Mangum wrote a letter to his sister Lula signed, “Give my love to all and keep all you wish, Your Brother Hugh.” It’s possible he anticipated death, or maybe the salutation is simply an indicator of his kind spirit. Read as an expression of his pictures, the phrase “keep all you wish” suggests Mangum’s generosity in creating an atmosphere—respectful and often playful—in which the many hundreds of men, women, and children who posed for him were able to genuinely reveal themselves. A century later, Mangum’s portraits allow us to gaze into the faces of early-twentieth-centuryDurham and the American South.

—SARAH STACKE, curator

Written by Sarah Stacke

April 28, 2012 at 12:01 pm

11.27.10 Bryan

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Written by Sarah Stacke

November 27, 2010 at 7:01 pm

09.18.10 A Reasonable Facsimile

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Based on Baudelaire’s claim that a photograph can never be an authentic copy of real life, each photographer will interpret one another’s photographs in a visual conversation that progresses around the country. It’s a photographic experiment in interpretation that functions similarly to a game of visual telephone. This project explores the complexity of communication, perception, and inter-connection in an increasingly globalized/digitalized world.    — Michelle Westmark

Earlier this year I was honored to be chosen as one of twelve photographers to participate in  A Reasonable Facsimile, a project created and led by Michelle Westmark.  This “game of visual telephone” began in Minneapolis, Minnesota with a photograph taken by Michelle.  She then sent a 4×6 postcard of the image to the next photographer in the chain.  This photographer interpreted the image with an original image, and sent a 4×6 postcard of the new image to the next photographer.  The project proceeded around the country in this fashion and ended in Saint Paul, Minnesota.  It is important to note that each photographer only saw the image that they received in the mail.  The progression of the chain was not revealed until all twelve photographers had finished.

New York was stop number seven.  The postcard I received was from Charlotte, North Carolina, and I carried it with me everywhere I went for two weeks trying to decipher its meaning.  It was a self-portrait taken on Cinco de Mayo in the photographer’s home.  The subject was pictured looking out her balcony — it was personal, but at the same time distant.  I responded by making a photograph called “In Bed” that was sent to Delaware.  To view the entire chain, and learn about upcoming exhibits, please visit the website I created for the project: http://www.facsimileproject.com.

 

In Bed - New York, NY - 5.29.10 - 77 F

 

Written by Sarah Stacke

September 18, 2010 at 1:08 pm