On view at Blue Star Contemporary Art Museum, in San Antonio, TX, from December 4, 2014 to February 15, 2015, Northern Trianglewas created by Borderland Collective to open a space for constructive dialogue and exchange around the current Central American refugee crisis along the U.S./Mexico border and the long and complicated history of U.S. intervention in which it is irrevocably entangled.
Originally commissioned by Blue Star Contemporary, Northern Triangle subsequently traveled to Threewalls, Chicago, IL (18 March - 23 April 2016), Krannert Art Museum, University of Illinois Urbana-Champaign, IL (26 August - 22 December 2016), University of Arizona Art Museum, Tucson, AZ (4 February - 2 April 2017), Staniar Gallery, Washington and Lee University, Lexington, VA (November 6 - December 8, 2017), and Baylor University’s Mayborn Museum Complex (April 19 - September 16, 2018).
Beautful Suffering (2006)
On view at the Williams College Museum of Art from January 14 to April 30, 2006, Beautiful Suffering: Photography and the Traffic in Pain used photographs drawn from art, advertising, and photojournalism of the last two decades explore the ethics and aesthetics involved in depicting human suffering. Through work by such diverse photographers as Alfredo Jaar, An-My Lê, Susan Meiselas, Andres Serrano, and Sebastião Salgado, the exhibition documented some of the key debates concerning the aestheticization of suffering in photography and considered the ethical, economic, and political impact of the production and circulation of these images.
Beautiful Suffering was conceptually framed around a series of interrelated inquiries: Is seeking beauty in the representation of suffering inherently problematical? If so, why—and do these problems attend any kind of “aestheticized” response to suffering? Should our evaluation of an image be shaped by the cause it was intended to serve? By the places in which it is displayed? By the pictorial conventions deployed? By the kinds of acts or persons represented? By therelationship between photographer and subject? Are there ways of picturing injury that do additional violence to the subject, while making the spectator complicit in this transaction? What forms of spectatorship or witnessing are worth cultivating? What conventions and representational practices are most, and least, likely to do this work? To what extent can words—whether the artist’s, the subject’s, the curator’s, or the critic’s—reveal or alter the meaning of the image? Recent photographers have replied to these questions in different ways. Beautiful Suffering explored these questions and responses through every aspect of its content and design.