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8 Photographers That Know Gender And Identity Are A Drag - HE/SHE/THEY on Huffington Post

Added on by ROSEGALLERY.

Priscilla Frank reviewed the group exhibition HE/SHE/THEY for the Huffington Post, highlighting 8 photographer's work. Here's a selection of the review:

"Drag, in case you didn’t know, is the tradition of dressing up in and often exaggerating qualities of a certain gender for the sake of performance. 

However, as Judith Butler made plain in her 1990 text Gender Trouble, “There is no original or primary gender a drag imitates, but gender is a kind of imitation for which there is no original.” Although drag is often regarded as a form of impersonation, Butler asserts that there is no manifestation of gender that isn’t already constructed, choreographed or performed in some way. What is traditional femininity if not curls and heels and soft gestures? What is masculinity if not imposing posture, stern expressions and a heavy dose of pride?

Long before theories like Butler’s made their way into college curriculums and mainstream culture, they were played out before the camera. The exhibition “He/She/They” at Los Angeles’ ROSEGALLERY explores how photographers have demonstrated the way both gender and identity only exist when performed. The artists on view posit there is no natural way to be a woman or a man, just as there is no natural way to be oneself.

The show features a variety of artists who live and work everywhere from Mexico City to Osaka, Japan, each using the camera to document the always already artificial nature of the self.

Some photographers capture their subjects as strictly masculine or feminine, adhering to the codes that establish them as such. Others operate in the space between, depicting people who are androgynous or genderqueer. And many enjoy playing with conventions, turning them upside down while switching genders or ethnicities as easily as one switches an outfit. 

The following eight photographers are a diverse bunch. Some lay bare the norms and practices we associate with gender, while others work to overturn them. But all, in some way, realize that subjects don’t just perform for the camera, they perform in the self-portraits that constitute their lives. "

Graciela Iturbide,  Magnolia, Juchitan, Oaxaca,  1986

Graciela Iturbide, Magnolia, Juchitan, Oaxaca, 1986

Lise Sarfati,  Malaika, Corner 7th Street and Spring , from the series  On Hollywood , 2010

Lise Sarfati, Malaika, Corner 7th Street and Spring, from the series On Hollywood, 2010

Nikki S. Lee,  The Hip Hop Project (1) , 2001

Nikki S. Lee, The Hip Hop Project (1), 2001

Read the full review with images on
Visit the HE/SHE/THEY EXHIBITION PAGE for more artist and exhibition info.

Inner-city Transformations Captured in Time-lapse Photography by Camilo José Vergara

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Focusing on poor and segregated neighborhoods across America, Camilo José Vergara has photographed transforming cities for more than half of his life.  For maximum impact to illustrate changes, Vergara photographs the same intersections in cities known for their dilapidation and growth of gentrification such as New York, Detroit, Chicago, Los Angeles as well as many others. His series "Tracking Time" is an ongoing series.

Ransom Gillis Mansion, Alfred at John R St., Detroit, shown in 1993, 2000, 2002, 2012, 2015 and again in 2015. 

Vyse Ave. at East 178th St., Bronx, New York, shown in 1980, 1984, 1986, 1988, 1993 and 2013.

Taken from the Huffington Post:

"Vergara differentiates his work from photographs that are meant to stand alone and “astonish” a viewer. Instead, his work is best digested a dozen or a couple hundred images at a time. He sees himself as an archivist, both creating the original documents and then curating them.

“You find meaning in some aggregate images, and that’s what I’ve done all my life,” Vergara said. “That’s the great function of photography, is that it’s not so much focused on the extraordinary — it’s the everyday.”

Vergara’s entire collection is a portrait of decline and renewal at both a neighborhood and national level, one that particularly resonates as many cities grapple with rapid gentrification and the displacement of long-time residents and small businesses. His method of time-lapse photography has created a record of those everyday surroundings that might otherwise be lost."

New St. and Newark St., Newark, New Jersey, shown in 1980, 1981, 1985, 1987, 2014, 2015.

Things disappear so quickly,” he said. “And then you realize … your city doesn’t look like that anymore.

Views Along Fern St., Camden, New Jersey, shown in 1979, 1988, 1997, 2004, 2009 and 2014.

To see more city transformations by Camilo José Vergara please visit



Art, Diversity and the Human Race, Nancy Burson on Huffington Post

Added on by ROSEGALLERY.

Nancy Burson's timely new work, What If He Were: Black-Asian-Hispanic-Middle Eastern-Indian, is gaining national attention.  Huffington Post writer Christine Buckley wrote on the topic of diversity, Nancy's research and work, and how most of us are more similar than we are different.

Another of Burson’s projects is the provocative Human Race Machine, which she created as a public art project commissioned by the London Millennium Dome in 2000. Burson’s Human Race Machines continue to tour the country at colleges and universities and allow people to view themselves as another race. It is her hope that the project will challenge people to change perspectives on how they view human race. As recently reported by Popular Science, current research shows that the experience of oneself as another race can create cross-racial empathy within the mirror neutrons of the brain. This is important, really, because the concept of race is not genetic, it is social. In 2005 scientists discovered just one gene controls skin color. Put another way, that is just one tiny letter of DNA code out of the 3.1 billion letters in the human genome. Yes folks, we are all 99.99% alike.
In her recent and timely work utilizing the Human Race Machine, What if He were: Black-Asian-Hispanic-Middle Eastern-Indian, Burson created images of Donald Trump as each of these races. Originally commissioned by a prominent magazine, which ultimately decided not to publish it, Burson said she was spurred to produce the work. “The question in my mind was whether Donald Trump’s brain would be affected with an empathetic response upon viewing the work,” explained Burson.

While art and politics don’t always mix, Burson’s project is one that goes beyond politics and delves deep into the psychology of a person’s sense of self. One has to wonder if Trump sat with the image of himself as Middle Eastern, would he at all feel empathy and reconsider his position of banning Muslims from entering the United States? Or if he visually experienced himself as Hispanic, would he still fiercely advocate building a wall with Mexico? Would he at all feel compassion for others, if even on a subconscious level?
— C. Buckley

Please read the entire article on