The Impact of Kathe Kowalski
Honoring Insight: The Impact of Kathe Kowalski
Work by LaToya Ruby Frazier
Exhibition at Bruce Gallery
Edinboro University of Pennsylvania
October 5-27, 2011
Art Educators of NJ
10/3/11
LaToya will be the Keynote Speaker at the 2011 Art Educators of New Jersey Conference.
Honoring Kathe Kowalski
September 19, 2011
Honoring LaToya’s mentor Kathe Kowalski in the New York Times Magazine.
LaToya Ruby Frazier with Glenn Beck, Joel Klein, Amar’e Stoudamire and Others Reflect on Their Education – New York Times Magazine, Educational Experiences
“Kathe Kowalski was my photography professor at Edinboro University of Pennsylvania. I remember the first moment we met. She was hanging examples of her students’ work in the hallway. I offered to help and began holding the prints as she tacked them up one at a time. The moment we exchanged our names, I knew that our meeting was a divine appointment.”
Read more on the NYTimes Blog
“Intimacies” at Gallery 400
9/9/11 – 10/22/11
Gallery 400
Intimacies
Curated by John Neff and Lorelei Stewart
September 9-October 22, 2011
Reception: Friday, September 9, 5-8 pm
Elijah Burgher/Tom Daws | LaToya Ruby Frazier | Desirée Holman | Leigh Ledare | Laurel Nakadate | Michael Sirianni
In the six artists’ works in Intimacies the camera is an active agent in the creation of social events, not just a recording instrument in the hands of an autonomous documentarian. The primarily photographic and video works, some of which include painting and sculptural elements, focus on charged interpersonal encounters. Beyond serving as indices of such encounters, the included artworks reveal the reconfigured effects of such exchanges, disclosing the complexity of authorship, agency, and viewership in today’s world.
Moveable Feast
Aperture Foundation, 2010 – 2011
NYC Green Cart Program Commission
Moveable Feast: Fresh Produce and the NYC Green Cart Program
Mar 22 — Jul 10 2011
Museum of the City of New York
Artist Statement
I set out to document encounters with the Green Carts’ owners, workers, and customers. I was looking for how the presence of a mobile food cart can generate human connectivity on the street and also at the relationship between people and fruits and vegetables. After studying the list of Green Cart locations, I began mapping out the neighborhoods. I learned right away that most Green Cart vendors know exactly where other Green Cart vendors are located and can point you in the right direction. I would spend three to fours hours at each Green Cart before I would start shooting to learn the Green Cart workers’ schedule, their regular customers and the highest point of the day when fruit was sold.
Over time, I learned that the workers at the Green Cart are not always the owners, that they encounter fierce competition for business with other nearby vendors, that there are constant worries about health department code violations and fears of harassment from the New York City Police.
It’s funny how vendors are visibly outside on the street working sunrise to sunset and sometimes twenty-four hours a day, but some how they remain invisible.
— LaToya Ruby Frazier
Panelist at The New School
Confounding Expectations: Revisiting “In, Around and Afterthoughts on Documentary Photography”
Wednesday, November 3, 2010 – 7:00 to 8:30 p.m.
The New School, Tishman Auditorium
66 West 12th Street
Aperture Foundation, the Photography Program in the School of Art, Media and Technology at Parsons and the Vera List Center for Art and Politics present a panel entitled Contemporary Documentary Practices, as part of the ongoing series, Confounding Expectations: Photography in Context.
Martha Rosler’s seminal critique of documentary photography in the 1981 text In, Around and Afterthoughts on Documentary Photography, this panel explores the viability of documentary practices today, both within the contemporary art realm and in the larger context of visual culture. In the 1981 text, Rosler claimed that documentary photography has yet to be realized in its full potential. Moving from a direct critique of documentary photographic practices, many contemporary photographers are utilizing art strategies to initiate and maintain social and political engagement through the use of the photographic medium. This discussion aims to examine photography’s ability to fostering social change in the contemporary moment and in generating a discussion about the importance of institutional and discursive framing in determining photographic meaning.
Moderated by Susan Bright, panelists include LaToya Ruby Frazier, Chris Verene, and Michael Wolf.
