Art Exhibits

8 JUN 2015

The Call of Cairo

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The Call of Cairo an exhibition of photographs from the feature documentary film, Cairo in One Breath   It happened to be Ramadan when On Look Films took their first production trip to Cairo in August of 2009. They were beginning to work on their feature documentary film Cairo in One Breath which had its world premiere at Full Frame Documentary Film Festival in 2015. Over the course of these several years, the On Look Films team has been documenting

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31 MAR 2015

Precarious Living

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In China, progress is often synonymous with a particular vision of urban development. An evidence of this is the prevalence of urban billboards and hoardings that promise an utopian future with spectacular skyscrapers and happy citizens. Yet, this desire of having a harmonic and dreamlike future collides constantly with the conditions of precarity that have become a common sight in China and elsewhere. In the city of Guangzhou, the precarity of life is epitomized in the surreal landscape of Xiancun,

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30 SEP 2014

Faces of Time – Rostros Del Tiempo

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These are some of the faces of ex-Braceros (or their widows who stand for them) who worked in U.S. fields harvesting crops and providing food for American consumers between the years 1942-1964. For years they have gathered every Sunday in Ciudad Juarez to demand the retirement benefits they earned half a century ago. They are part of a national movement of ex-Braceros. When I visited Ciudad Juarez as part of what I call my “border odyssey,” I met these venerable

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31 JAN 2014

Haiti: Sèvis Lwa

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Haitian Vodou flags, or dwapo, are powerful liturgical objects whose unique beauty has captured the attention of art collectors and tourists to Haiti in recent decades. Scholars believe that the importance of flags in Vodou religious ceremonies traces back to beadwork practices of the Yoruba people of West Africa and the Asafor military flags of Fante people in Ghana. Among the most sacred and expensive ritual items, most temples keep two flags housed in the inner sanctuary, which represent both

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17 SEP 2013

Revolution Graffiti: Street Art of Egypt

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The 25 January revolution in Egypt opened the flood-gates for a wave of street art. Decades of oppression and despair suddenly were turned into optimism, a new-born vitality and energy, allowing people to explore new freedoms – including the right to make art freely. The Swedish photographer Mia Gröndahl has documented and followed the graffiti movement in Egypt from its beginning in January 2011.

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15 JAN 2013

Activism and Protest

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Among the most valuable images the Herald Sun’s photographers have captured are images of the civil right struggle, images which can help to keep the memory of that struggle alive as those who lived it grow older and pass from the scene.

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27 AUG 2012

ZALMAÏ: Walking in Quicksand

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Ten years after the fall of the Taliban and the intervention of the international community in Afghanistan, Afghans continue to be the most exiled people in the world. In 2010, three out of ten refugees in the world were originating from Afghanistan. Disillusioned and dispirited from a peace that never comes, Afghans are on exile’s road again.

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20 APR 2012

Literacy Through Photography: Tanzania

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Literacy Through Photography (LTP) is a program of the Center for Documentary Studies at Duke University. In summer 2008, LTP staff members traveled with eight Duke students in the DukeEngage program to Arusha, Tanzania.

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7 FEB 2012

Bruce Davenport Jr. – All I Need Is 1 Pen

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On view at the Franklin Center Gallery will be the exhibition All I Need Is 1 Pen, a show comprised of works on paper by Bruce Davenport Jr. as well as a short video from the upcoming Richard Barber film The Whole Gritty City, which documents both the marching band culture of New Orleans and Davenport Jr.’s artistic work in response to that culture. Davenport Jr.’s work is on the cusp between folk art and contemporary art and seems to

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7 FEB 2012

Sugar Cane (2003-2007)

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This exhibit by South African artist Zwelethu Mthethwa is a modest but able reminder of the genius of Mthethwa’s work, represented here by seven seminal photo works from his 2003-2007 Sugar Cane series. These works recall a moment when the artist came to grips with a critical question in contemporary photography: how to provide greater dignity and realism to his subjects than that afforded by the black-and-white documentary reportage as was prevalent during South Africa’s historical transformation from apartheid to

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