Seeing through Difference: Speculating Alternative Futures with Sheila Pree Bright and Danny Wilcox Frazier
|Date||Jun 20, 2018|
In conversation with Paul Rogers, ICP’s director of content and public programming, photographers Sheila Pree Bright and Danny Wilcox Frazier explore the role of images in mediating identity politics, promoting or interrogating cross-cultural (mis)understandings, and provoking social change.
This program is part of the series Reimagining the Image, which examines film, photography, and new media from the artist’s perspective.
Sheila Pree Bright is a fine-art photographer known for her photographic series, Young Americans, Plastic Bodies, and her most recent project, #1960Now, which was featured at the Museum of Contemporary Art Georgia in 2015. Bright earned an MFA in photography from Georgia State University and received the Center Prize from the Santa Fe Center of Photography for Suburbia. Her work was featured in the documentary Through the Lens Darkly: Black Photographers and the Emergence of a People. Bright has exhibited at the High Museum of Art (Atlanta), Smithsonian Anacostia Museum in Washington, DC, the Art Gallery of Hamilton (Ontario, Canada), and the Leica Gallery in New York City. Her work is in many private and public collections, including part of the Library of Congress, Washington DC, Wadsworth Atheneum Museum of Art (Hartford, Connecticut), and Sprint PCS Art Collection (Overland, Kansas).
Documentary photographer and filmmaker Danny Wilcox Frazier focuses his work on marginalized communities both in and outside of the United States. With his photographs from Iowa, Frazier documented those individuals continuing to live traditional lives in rural communities across the state, people challenged economically but often unwavering in their conviction to stay. The project was awarded the Center for Documentary Studies/Honickman First Book Prize. Frazier’s photographs have been included in numerous books, including The Millennium Villages Project (MVP), Detroit: An American Autopsy by Charlie LeDuff, War Is Only Half The Story, Vol. IV, The Aftermath Project, and Land–Country Life in the Urban Age (catalogue).
Frazier is the recipient of numerous grants and fellowships and his photographs are in public and private collections, including the Museum of Fine Arts, Houston; Philadelphia Museum of Art; George Eastman House; International Museum of Photography and Film; Duke University’s special collections library; Honickman Foundation; and Smithsonian, National Museum of American History.
Paul Rogers joined the International Center of Photography as director of content and public programming in 2016 and leads the Center for Visual Culture. Previously, he was vice president of public programs and exhibitions at the Charles H. Wright Museum of African American History in Detroit, MI. His prior work experience also includes 9 years of consulting in thought-leadership, curriculum development and culture-based program design, and graduate and undergraduate teaching of the history of art at the University of Chicago, UC Berkeley, Harvard University, and Emory University. Rogers holds a BA in art history from the University of California, Davis, and a PhD in the history of art from Yale University.