Shana Agid is an artist/designer, teacher, and activist whose work focuses on relationships of power and difference, particularly regarding sexuality, race, and gender in visual and political cultures. She is an Assistant Professor of Arts, Media, and Communication at Parsons the New School for Design and holds an MFA in Printmaking and Book Arts and an MA in Visual and Critical Studies from California College of the Arts (CCA), and is currently completing a design-led PhD in Media and Communication at the Royal Melbourne Institute of Technology (RMIT) looking at intersections of collaborative design and abolitionist organizing. He is on the editorial board for Radical Teacher and is a corresponding editor for Design Philosophy Papers.
Agid’s work has been shown at The New York Center for Book Arts, the San Francisco Center for the Book, Southern Exposure, at the Pacific States Biennial National Print Exhibition, the Lower East Side Printshop, the Minnesota Center for Book Arts, and other venues. Her artist books are in the collections of the Walker Art Center, The New York Public Library, and The Library of Congress, among others. He is a co-developer of Working with People (working-with-people.org), a keyword-based curriculum and online tool for developing critical pedagogical frameworks for collaborative practices. His writing on issues including prisons, race, sexuality, gender, and teaching have appeared in Clamor Magazine, Radical Teacher, Flow Magazine, and Through The Eye of Katrina: Social Justice in the Unites States. Her writing on design, politics, and pedagogy has been published in Design and Culture, Design Philosophy Papers, and Lateral: The Journal of the Cultural Studies Association.
- 07.11.2014 / Shana Agid Interviewed by Visual AIDS
- 06.30.2014 / Body, body, bodies Exhibition Featured Members of VCS Community
About Shana Agid’s Thesis Project
“Fags Doom Nations” and Other Parables of Hate: Representations of “Hate Crime” and Constructions of U.S. National Identity
In 1993, Brandon Teena, a white transgender man was raped and beaten, then killed in Falls City, Nebraska. In1998, James Byrd, Jr., a Black man, was dragged to death in Jasper, Texas and Matthew Shepard, a white gay man, was beaten and tied to a fence in Laramie, Wyoming. And in late 2002, Gwen Araujo, a Latina transgender woman, was beaten and strangled in Newark, California.In the decade spanned by these high-profile killings, the idea of “hate crime” solidified in public media and legal discourses and took on national meanings and implications for a United States that is constructed, through narratives of progress and growth, as “anti-hate” in the post-Civil Rights era.
This article is drawn from a larger project that addresses the role of news and entertainment media representations of specific instances of racist, homophobic, and transphobic violence as “hate crimes” –where the term “hate” nullifies and renders unseen or unanalyzed the specificities of racial, sexual, and gender domination and violence. This is one part of the process through which incidents of such violence are made, in their representations and effects, into nation- and citizen-building tools.