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Posted on October 23, 2020

Crossroads
Alanna Airitam
October 28 – January 6, 2021
woman in dark shirt turns back to viewer
© Alanna Aritam, “Moment of Truth 1, from Crossroads, 2019”
person with back to us.
© Alanna Aritam, “Moment of Truth 2, from Crossroads, 2019”
woman facing front
© Alanna Aritam, “Moment of Truth 3, from Crossroads, 2019”

masked person facing front
© Alanna Aritam, “Moment of Truth 4, from Crossroads, 2019”
man facing away
© Alanna Aritam, “Moment of Truth 5, from Crossroads, 2019”
short hair person facing away
© Alanna Aritam, “Moment of Truth 6, from Crossroads, 2019”

long haired woman faces away
© Alanna Aritam, “Moment of Truth 7, from Crossroads, 2019”
woman in print dress
© Alanna Aritam, “Moment of Truth 8, from Crossroads, 2019”
man turned away
© Alanna Aritam, “Moment of Truth 9, from Crossroads, 2019”

woman in black
© Alanna Aritam, “Moment of Truth 10, from Crossroads, 2019”

Statement

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

We know this phrase from the Declaration of Independence quite well. For most of us Americans growing up, we learned this phrase and it’s meaning in our early days of school. As a kid, there was little reason to question it’s meaning. It was clear and I liked it. I liked this American Dream and the idea this was a country where everyone could be treated as equals and pursue the life of their choosing. I quickly learned that phrase wasn’t meant for people of color. You see, in order for this to be true, this country would have to see all people as human and hold the same value for everyone. History has proven time and time again this simply isn’t the case. This country has failed all non-white people from the beginning and instead of acknowledging the truth and building a bridge toward healing, the United States government finds more elaborate and insidious ways to continue inflicting damage to marginalized communities and avoids being held accountable for it’s actions and crimes against humanity. The communities most in need never get to heal much less ever have their needs addressed. What can we do if our government will not protect and provide for us?

Crossroads asks us to look toward something new to find the answer to that question. This series comprised of ten portraits of people of color look away from the camera. They are strong and determined in their posture and suggest they are ready to look for life, liberty, and happiness elsewhere. In this context, facing away from the camera is an act of defiance. It is a protest. We do not have to acknowledge this government if it will not acknowledge us. If we are ever to have a life as stated in the Declaration of Independence, we will need to create it for ourselves.

The weight of the finished pieces symbolize the heavy burdens people of color have to carry around from one generation to the next. The depth given to the portraits covered in UV acrylic resin can make the figures look as if they are drowning. The cold and rust of the metal frames surrounding them symbolizes the way our country treats us. With cold indifference and put in boxes.

Crossroads does not offer any solutions. I wish I had them to share. Instead, it is meant to start a conversation of what it would look like if we were to unify and look toward something new.

Bio

Questioning generalized stereotypes and the lack of fair and equal representation of people of color in art spaces has led artist Alanna Airitam to research critical historical omissions and how those contrived narratives represent and influence succeeding generations. Her photographic series The Golden Age, Crossroads, White Privilege, and individual works such as Take a Look Inside and How to Make a Country ask the viewer to question who they are and how they choose to be seen.

Airitam’s portraits and vanitas are photographed in studio with minimal lighting rendering a painterly quality to her photographs. The archival pigment prints from The Golden Age series are hand-varnished while those in the Crossroads, Take a Look Inside and How to Make a Country series are archival prints encased in resin and placed in hand-welded frames. All works are produced by the artist in limited editions.

Alanna is a 2020 San Diego Art Prize winner, 2020 Top 50 Critical Mass Finalist, and recipient of the 2020 Michael Reichmann Project Grant Award. Her photographs have been exhibited at Catherine Edelman Gallery in Chicago, Quint Gallery in San Diego, San Diego Art Institute, Art Miami with Catherine Edelman, Athenaeum Art Center in San Diego, and Candela Gallery in Richmond, Virginia. Born and raised in Queens, New York, Airitam now resides in Tucson, Arizona.

CV
Exhibitions & Shows

San Diego Art Prize 2020, Bread & Salt Gallery, San Diego, CA, September 5 — October 24, 2020

Photography &____, Catherine Edelman Gallery, Chicago, IL, July 10 — September 4, 2020

How to Make a Country, Athenaeum Art Center, San Diego, CA, March 17 — May 9, 2020

The Golden Age, Candela Books & Gallery, Richmond, VA, January 2 — February 22, 2020

Crossroads, Quint Gallery, July 20 — Sept. 14, 2019

Xquisite Corpse, Bread & Salt, January 12 — March 30, 2019

The Art of Belonging, You Belong Here, November 29, 2018 — January 26, 2019

Art Miami, Catherine Edelman Gallery, December 4-9, 2018

How Do You See Me?, Catherine Edelman Gallery, Chicago, IL, Sept. 7 — Oct. 27, 2018

About-Face, San Diego Art Institute, San Diego, CA, April 21, 2018 — June 3, 2018

Once Upon a Body, Art Produce, San Diego, CA, November, 2017

Speaking/Lectures

SF Camerawork, Portraiture as Activism, October 14, 2020

Medium Photo REMIX, August 22, 2020

Museum of African Diaspora (MoAD). In the Artist’s Studio. July 1, 2020

San Diego State University, February 14, 2019

Art Institute of California, San Diego, February 11, 2019

Open Show, San Diego #7, February 8, 2018

Documentary

Salt and Sugar Productions From Haarlem to Harlem (short film about The Golden Age)

Media

Don’t Take Pictures, Issue 15: The Fiction Issue: Alanna Airitam Remakes the Golden Age, Essay by Gordon Stettinius

Commonwealth Times: BHM profile | ‘The Golden Age’: Photos present an empowering narrative for African Americans

VICE!: These Photographers Make Surprisingly Fresh Photos of Flowers

BBC News: Chicago: Three artists challenging African-American stereotypes

Chicago Tribune: Exhibition stares down portrayals of blackness in art history, corporate environments

Catherine Edelman Gallery Artist Talk: Artist Talk: How do you see me? 2018

Catherine Edelman Gallery Cyclops: Alanna Airitam answers James Lipton’s 10 questions

The Huck: Rewriting the History of Black Women in Photography

Feature Shoot: Celebrating Harlem’s Legacy with Portraits of “The Golden Age”

Range Finder: A Portrait Photography Show Confronting Racial Stereotypes in Various Industries

More in Common Podcast: Alanna Airitam. There is Fear or There is Love. Episode 26

Diffusion Annual: Poignant Portfolios no. 7: Alanna Airitam

Lenscratch, June 29, 2018: Alanna Airitam: The Golden Age

Passion Plan Podcast: Episode 21 Interview with Fine Art Photographer, Alanna Airitam

Don’t Take Pictures: July 12th, 2018

San Diego Union Tribune: Inspired by people and a need to see herself represented

Keep The Channel Open: Podcast Episode 65

Humble Arts Foundation: Alanna Airitam Reframes The Golden Age

San Diego CityBeat: Alanna Airitam Shines in The Golden Age

#Photography: 5th Anniversary Women’s Edition

Upworthy: One photographer gave women who feel silenced the chance to be heard

Afropunk:  Artist Alanna Airitam’s Black Bodies in The Golden Age

View Alanna Airitam’s website.

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

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