Danielle Jackson is a candidate in CCA’s dual degree program in Curatorial Practice and Visual and Critical Studies. A native of Chicago, she received dual degrees from Illinois State University in Art History and Studio Art with a concentration in Sculpture. Prior to attending CCA she worked as a curatorial and programming assistant at University Galleries’ in Normal, IL. At University Galleries’ she had the opportunity to work with a group of wonderful artists: Oliver Herring, Jason Lazarus, Shinque Smith, and many more. While at the gallery, she was the lead assistant on three memorable exhibitions Nadia Hotait: preferring the fleeting happiness on earth, Miller & Shellabarger: Alone Together, and Meredith Zieike and Yoni Goldstein: The Jettisoned. After the completion of the assistantship, she began writing for The Chicago Arts Archive & Collective Project alongside interviewing artists within the city of Chicago. Her current research focuses on archival processes, liberation pedagogies, family memory, and creating new curatorial strategies and/or structures for exhibitions.
May 2013 Lost Treasures was a collaboration between BAVC and CCA students from the Curatorial Practice program. Hundreds of audiovisual works from the archives of four Bay area institutions (SF Cinematheque Southern Exposure, Headland Center for the Arts, and Intersection for the Arts) were assessed. Forty works spanning the genres of experimental film, visual arts, literature, performance, music, and educational programs were selected for preservation. Together they represent the experimental nature of the Bay Area’s art scene, from the 1960s to the present. The project ended in a three-part programming series at three locations: Oakland Museum of California, Kadist Art Foundation, and 65 Capp Street.
Ralph Lemon’s Cool American Epic
Civil Rights has its own mise en scene. Portraits of black protesters on the streets of Birmingham, Alabama in 1963, consumed by the American public, have been categorized as canonical documents due to their dissemination and reception. These potent images, treated as evidence of the black American experience, historicize the choreography, violence, and agency they depict. This symposium talk, “Ralph Lemon’s Cool American Epic,” highlights Come home Charley Patton (2004), a project where conceptualist, Ralph Lemon, creates a ninety-minute theatrical performance built from travels to sites of racial protest throughout the American South.
In order to underscore the narratives present in Come home Charley Patton and how they are constructed from a lexicon of imagery associated with civil rights and the black American experience, I will analyze narratives of sociological and historical memory. Through readings of historical photographs and works of art that make use of civil rights iconography, this talk considers how contemporary artists re-member, re-enact, reference and re-envision imagery from the black freedom struggle, ultimately conjuring what I call the “cool cultural history of black Americans,” alluding to the way black Americans have had to navigate the racial terrains of America. The symposium talk offers an interdisciplinary mode of interpretation that both plays upon and questions performance’s capacity to excavate.