At Royal NoneSuch, Emily Mast and Henna Vainio Make Life Strange, KQED Arts, 5/17/17
50 Years of Lynn Hershman Leeson's Tricks and Tech Art Innovations, Hyperallergic, 5/9/2017
After Five Years of Queer Performance, 'The News' Takes Its Final Bow, KQED Arts, 4/3/2017
At MoAD, Open-Ended 'Where is Here' Reaches Beyond the Museum's Walls, KQED Arts, 1/18/2017
Pipilotti Rist: Pixel Forest at New Museum, Daily Serving, 1/10/2017
A Plant's-Eye View of the World, KQED Arts, 11/18/2016
Printed Matters —Mass Effect: Art and the Internet in the Twenty-First Century, Daily Serving, 11/3/2016
The Colonial Histories of Colors and Patterns, Hyperallergic, 8/23/16
Notes from a Secret Art and Tech Sleepaway Camp, KQED Arts, 7/22/16
Oakland Gallery Morphs into Movie Studio for Summer of Artist Residencies, KQED Arts, 6/23/2016
Get Jazzed About Q-tips with Christian Marclay’s ‘Six New Animations,’ KQED Arts, 5/23/2016
Kate Rhoades and the Labyrinth of Discarded Materials at Recology SF, Art Practical, 5/17/2016
Manners Performs Utopic 'Bodily Engagements' at Interface Gallery, KQED Arts, 2/22/16
Last Week to Remember or Discover Sonya Rapoport at Krowswork, KQED Arts, 12/15/15
Going Somewhere with Fakeness: Mica Sigourney Brings Drag to the Headlands, Art Practical, 11/17/2015
In One-Woman Show, Andrea Fraser Mansplains Feminism in 1972, KQED Arts, 11/2/2015
A Truthful Story: Archive Show Reveals Decades of Resilience at Intersection for the Arts, KQED Arts, 10/5/2015
Questions Brought to the Surface: On Curating Art and Technology with Ceci Moss, Art Practical, 9/8/2015
The Artists May Not be Present at di Rosa's 'Body Talk,' KQED Arts, 8/26/15
'The News' Carves Out Space for Fresh Queer Performance, KQED Arts, 8/3/2015
The Outrageous Dynasty Handbag Returns to San Francisco, KQED Arts, 6/18/2015
An Expert's Guide to the 2015 National Queer Arts Festival, KQED Arts, 6/8/2015
Dissidents’ Tackle Displacement and Surveillance in Two-Part Exhibition, KQED Arts, 6/3/2015
Nia King's Urgent Message: "We Were Here and Our Lives Matter," KQED Arts, 5/27/2015
Little Rebellions: Women and Robots at di Rosa, Art Practical, 4/7/2015
Ehren Tool: Hand to Hand, One Cup at a Time (PDF), ProArts Gallery 2x2 Solos catalog, October 2014
Against Recognition, Art Practical, 4/16/2014
Reading Erasures in the Bay Area Queer Arts Community, co-author Anton Stuebner, Art Practical 5:2, 12/4/2013
The Jangs, Art Practical, 6/13/2013
Can a camera be racist? Analog color film has historically held an institutional bias for white skin at the expense of darker skin colors in instruction manuals and photochemistry. Contemporary artists Adam Broomberg and Oliver Chanarin explored this phenomenon in their photography series, To Photograph the Details of a Dark Horse in Low Light (2012-3) and The Polaroid Revolutionary Workers Movement (2013). Through their reproduction of photochemical reference material called “Shirley cards” and their obtainment of a camera from the 1970s that had a racialized flash boost, used in South Africa to create passbooks, the artists suggest that race in analog history needs critical attention.
Although digital technologies today produce more nuanced representations of black skin, a racialized norm now impacts face detection in point-and-shoot digital cameras. “Racist camera” memes are viral images posted on comedic websites that document instances in which non-white subjects are mis-detected by cameras because of skin color or eye shape. The images produce significant and uncomfortable meaning because a technology that purports to detect all faces has marked certain bodies in a way that mirrors existent relations of racial discrimination. While photography’s role in constructing racial differences along socially constructed hierarchies have been elaborated upon in recent years of scholarship, what is often left unexamined is how ideologies shape the constraints and capabilities of the photographic apparatus itself.
Read Sightlines article here.
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