Howard University’s Moorland-Spingarn Research Center Launches Exhibit Showcasing Work of Ghanian Photographer Gerald Annan-Forson

Howard University’s Moorland-Spingarn Research Center Launches Exhibit Showcasing Work of Ghanian Photographer Gerald Annan-Forson
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WASHINGTON, D.C. – On Wednesday, March 20, the Howard University Moorland-Spingarn Research Center (MSRC) hosted “Archiving Revolution: The Spectacle of Power in Late 20th Century Ghana,” a panel conversation inspired by the “Revolution and Image-making in Postcolonial Ghana (1979-1985)” exhibit in the Howard University Museum featuring photography from Gerald Annan-Forson, whose work documents major political moments in the country. 

The MSRC has been instrumental in broadening the conversation of Annan’s work about the political history in Ghana, serving as a testament to the important role archiving plays in preserving history, and how art contributes to political conversations globally. The archive includes over 200,000 negatives and was first displayed in 2022 at the Sharjah Art Foundation in the United Arab Emirates.  

A renowned photographer, Annan-Forson spoke candidly of his work and purpose in documenting the history of postcolonial Accra, Ghana. Throughout his 30-plus years of capturing images of the country and its former heads of state during revolutions and coup d’état’s, Annan-Forson witnessed violence and faced hardships. “At one point you ask yourself is being a photographer worth it?” said Annan-Forson. “Following dignitaries was my idea of making the country look good.” 

Born in 1947, Annan-Forson began his career as a freelance photographer during the mid 1970s with a focus on Accra, Ghana. The images are roughly chronicled from the late 1970s through the early 1980s and share intimate details of a country’s evolution in a post-colonial era. He photographed subjects ranging from political ceremonies, trials, coups, funerals, and revolution in action, to everyday people from all walks of life. 

Other panelists included Ghanian journalist Nana Ama Agyemang Asante, UC San Diego professor of history Bright Gyamfi, Ph.D., cultural anthropologist and Georgetown University professor Kwame Otu, Ph.D., Howard University professor of history Scot Brown, Ph.D., and archivist at the University of Ghana Institute of African Studies Judith Opoku-Boateng

 “Revolution is a question. How do people use the term revolution and what does it mean to radically rethink in an expansive sense, to challenge the form and not the content of how we use language,” said Jesse Shipley, Ph.D., an anthropologist who moderated the panel. “What does it mean to record stories about the past and to think about the past, present, and future in a dynamic relationship, and how can the practice of archiving become radical and revolutionary.” 

“The imagery that shows the nuance of [revolutions] is very important because it’s easy for those of us in the diaspora to have a one-dimensional idea about these safe havens that we look for when we think about the global picture,” said Brown. “While I haven’t abandoned the idea that such a place structured in a way that is in the interest of African people can exist and could already exist – maybe we don’t know about it – it’s important for us to encounter something closer to the truth to clarify our imagination.” 

The major theme throughout the event was the idea that society is in a pivotal and historical moment. This is a moment of radical possibility, of violence, and of a generation that is trying to rethink the future, explained Shipley. It is increasingly important that we understand how the past reflects and inspires the possibilities of today.  

The exhibit showcases numerous photographs by Annan-Forson alongside the equipment used to capture the historical context depicted. It is currently accessible for viewing at the Howard University Museum until the Fall semester.  

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About Howard University 

Founded in 1867, Howard University is a private, research university comprising 14 schools and colleges. Students pursue more than 140 programs of study leading to undergraduate, graduate and professional degrees. The University operates with a commitment to Excellence in Truth and Service and has produced three Schwarzman Scholars, four Marshall Scholars, four Rhodes Scholars, 12 Truman Scholars, 25 Pickering Fellows and more than 165 Fulbright recipients. Howard also produces more on-campus African American Ph.D. recipients than any other university in the United States. For more information on Howard University, visit www.howard.edu

PRESSR: Canon Central and North Africa collaborates with KidZania Cairo to launch Canon Photography Studio in Egypt

PRESSR: Canon Central and North Africa collaborates with KidZania Cairo to launch Canon Photography Studio in Egypt

Canon Central and North Africa is thrilled to announce its partnership with KidZania Cairo, to introduce a Canon Photography Studio at KidZania in Cairo, Egypt. The new innovative space is designed to provide children from 8-14 years of age with a unique opportunity to explore the world of photography, learn about Canon’s cutting-edge technology, and unleash their creativity in a fun and interactive environment.

The Canon Photography Studio at KidZania Cairo is set to become a captivating and creative play space where children can engage in a variety of activities related to photography. The aim is to create an immersive experience that not only entertains but also educates and empowers young minds while igniting their creativity

“We are delighted to embark on this exciting collaboration with KidZania Cairo. Canon has always been committed to inspiring creativity and nurturing a passion for technology and innovation. The Canon Photography Studio at KidZania Cairo is more than a play space; it’s a gateway for children to explore the captivating world of photography, learn about leading-edge technology, and, most importantly, have fun while doing so. The indoor city built to scale for kids, is an innovative and educational concept where children can engage in various role-playing activities and simulate real-world jobs and professions. We believe in the power of education through experience, and this collaboration aligns perfectly with our mission to empower the next generation of photographers,” says Amine Djouahra, B2C Business Unit Director, Canon Central and North Africa.

Building upon the success of the Canon Academy Juniors programme, the studio at KidZania Cairo adopts a similar educational empowerment approach tailored to children’s unique scale, level, and language comprehension. Much like the forementioned initiatives, the studio at KidZania Cairo aspires to instil valuable knowledge and empower young minds in a way that resonates with the dynamic and creative world of children.

For many years, Canon has been committed to empowering young people and providing them with tools and opportunities for personal and educational growth. Initiatives like this with KidZania Cairo play a vital role in enabling young people, providing them with opportunities for skills development and access to education, and fostering personal growth.

“The collaboration between KidZania Cairo and Canon marks a significant stride towards enriching educational experiences for children. By integrating Canon’s expertise in photography with KidZania’s immersive learning environment, we are poised to provide a unique platform for young minds to explore the realms of creativity and technology. Together, we aim to inspire the next generation of photographers and creators, equipping them with valuable skills and insights that will shape their future endeavours,” says Ahmed Ibrahim Habib, CEO for KidZania Cairo.  

The Canon Photography Studio at KidZania Cairo will feature a diverse range of activities. Children will also learn the art of composing a visually appealing photograph. Through interactive games and activities, they will understand the importance of angles, lighting, and framing.

Additionally, they will get hands-on experience with Canon’s latest technology. After capturing memorable moments, they will have the chance to bring their creations to life by using a Canon printer to print their photographs. Canon and KidZania Cairo are committed to providing children with a unique and enriching experience. Equipped with newfound experience in camera operation, lens variation, and the intricacies of capturing and printing images, children will emerge with a well-rounded skill set that transcends the fundamentals of basic photography. By combining play and learning, the Canon Photography Studio at KidZania Cairo aims to leave a lasting impression on young minds, inspiring the future generation of photographers.

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Series featuring naval photographer’s work on Kabul evacuation nominated for Bafta

Series featuring naval photographer’s work on Kabul evacuation nominated for Bafta

A documentary about the evacuation of Kabul that features the work of a renowned Royal Navy photographer has been nominated for a Bafta.

Evacuation, which includes film taken by Petty Officer Ben Shread, tells the story of Operation Pitting.

This was the British effort to evacuate British citizens and eligible Afghans from the capital in 2021 amid the resurgence of the Taliban.

Striking images of Op Pitting have already earned PO Shread the Royal Navy’s top photography award.

He was named Royal Navy Photographer of the Year back in 2021 – the same year as the evacuation.

PO Shread later recounted his time in the country, explaining how when he arrived he was the only UK forces photographer in theatre.

He told Forces News: “I’d say it’s probably the highlight of my career, and I’ve had a lot of highlights in my career.

“Watching our men and women in action out there filled me full of pride. It was great for me to be able to tell the stories of those guys out on the ground.”

But he also described the brutal treatment of civilians at the hands of the resurgent Taliban.

“At the beginning when Kabul fell, I think there was quite a moderate version of the Taliban there,” he said.

“As the evacuation process went on, it became a more hardline version of the Taliban there, they were treating the evacuees much worse.

“Sometimes they were beating them with rubber hoses and stuff like that.”
 
Evacuation, a three-part documentary from Channel 4, is nominated in the Best Factual Series category in the Bafta television awards.

It is going up against rival nominees Dublin Narcos, Lockerbie and Once Upon a Time in Northern Ireland.

The British Academy Television Awards, which will be hosted by Rob Beckett and Romesh Ranganathan, take place on Sunday 12 May.

Photographer tears up as he shares wedding pics taken by his 9-year-old daughter

Photographer tears up as he shares wedding pics taken by his 9-year-old daughter

Jerome Cole, a wedding photographer, shared a heartwarming video on his Instagram page in which he shared a few pictures of a wedding ceremony captured by his daughter, Aisha, who is almost 10 years old. Seeing her incredible photography skills, Jerome got emotional and couldn’t help but tear up.

The video showed a series of pictures taken by Aisha, which, according to Jerome, was a “proud dad” moment. He spoke about their “secret hand signals” and praised his daughter’s professionalism.

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In the caption of the post, Jerome pondered the idea of retirement, revealing that Aisha had expressed a keen interest in joining him on a wedding shoot for quite some time. He shared that Aisha had eagerly asked him about it every week. Finally, on a Sunday, during a wedding celebration, they decided to take the leap together.

“Should I retire? Aisha, almost 10, has been eager to join me in shooting a wedding for ages. She asks me every week! Sunday, with Jelena and Dragan’s big day, we took the leap. Our secret hand signals and her professionalism were something else. Seeing her photos, I couldn’t help but tear up. Proud dad moment #ProudDad,” read the caption of the post.

Watch the video:

Since being posted online, the video has garnered over 14 million views and widespread admiration from viewers worldwide. Several people even encouraged the little girl to follow her passion for photography while keeping up with her good work.

“This girl has skills. Better than most ‘professional wedding photographers’. Please keep nurturing this gift,” a person said.

Published By:

Ashmita Saha

Published On:

Apr 2, 2024

Napster dispute with British photographer puts the spotlight on the music industry’s artwork deals

Napster dispute with British photographer puts the spotlight on the music industry’s artwork deals

Streaming service Napster last week urged a judge to dismiss a lawsuit filed against it by a British photographer over a photo of reggae artist Sugar Minott. The photographer, Adrian Boot, claims that Napster infringed his copyright by using the photo without licence. However, Napster counters that it had a licence to use the photo via the record label that provided the recording it accompanied. 

Indeed, Napster argues, so clear is that fact that Boot should cover its legal costs because, “to investigate and refute Mr Boot’s claim required Napster to dig through reams of distribution agreements and trace the chain of a single photograph over the course of decades”. And “this herculean and burdensome task” revealed “nothing more than what Mr Boot had known all along: he had already been paid for a licence to use his photographs on Mr Minott’s album”. 

The case raises some interesting questions about the way record labels license images from photographers to use in artwork and release marketing. Do labels always have the necessary rights to then allow digital platforms to use the photos? To what extent are agreements between labels and photographers properly formalised? And what are the liabilities of the digital platforms if all the necessary rights haven’t been properly secured higher up the supply chain? 

The photo of Minott at the centre of this dispute was taken in 1979. In 2005, Soul Jazz Records then licensed the image for use in the artwork of the album release ‘Sugar Minott At Studio One’. That album was subsequently delivered to Napster, with the artwork including the photograph, by the label’s distributor PIAS. 

Boot says that he then discovered in 2022 that Napster was using his photograph alongside Minott’s tracks on the digital music platform. 

He insists that his agreement with Soul Jazz Records was restricted to the specific use of his photo on the cover of the ‘Sugar Minott At Studio One’ album, and that any other use of the image needed to be licensed via his company Urbanimage. 

In the screen grabs provided by Boot, Napster was using a cropped portion of his photo of Minott, so that it didn’t appear within the album’s artwork. 

In its defence, Napster refers to both Boot’s agreement with Soul Jazz Records and its agreement with PIAS. The label’s licence to use the photo on its album artwork, it says, “implied a non-exclusive licence to distribute the photograph along with the album”. It’s common practice, it argues, for labels to distribute any licensed photos along with a release. 

It’s agreement with PIAS, it then adds, grants it permission “to distribute, post, transmit, download, store, reproduce, display and exhibit each track’s corresponding artwork”, and also includes “an additional catchall to include all ‘other copyrightable works’ provided by PIAS”. 

Boot is seeking statutory damages under US copyright law in the region of $15,000. Napster also disputes that claim, because to qualify for statutory damages a work must be registered with the US Copyright Office. Boot only did that in 2018, by which point the photo was already on Napster’s platform, meaning the alleged infringement had already occurred. 

However, Boot argues that the copyright infringement continued after 2018, and therefore his claim for statutory damages is valid. 

Both sides set out their respective arguments in a court in Seattle on Friday. We now await a judgement. If the judge sides with Boot, it could set a precedent that would require labels and their digital partners to double check exactly what rights were secured from photographers when images were licensed for use on artwork.

Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism

Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism

“Bamboozled.” All images © Patty Carroll, shared with permission

The irony of the mannequin as “everywoman” is that the inanimate form doesn’t have much in common with real women at all. But for photographer Patty Carroll, that’s the point. “The mannequin is the ‘ideal woman’ who does not age, have wrinkles, fat, or any other human quality,” the Chicago-based artist says.

In her ongoing Anonymous Woman series (previously), Carroll captures scenes of domestic dismay and disaster, like a woman hiding from a bug infestation in the bedroom or falling from her office chair, still gripping a phone. “(The mannequin) stands in for all of us who are obsessed with our homes, whether it is the décor or activities inside that make us ‘homemakers,’” the artist says. And the domestic scenes in which they sprawl are meticulously crafted with the help of her assistant Andie Meadows.

It takes a long time to conceive of the concept and gather materials to construct each image. Carroll has increasingly gravitated to using puns or idioms from which she composes literal images like “Underdog,” in which a woman is trapped under a dog seated on a chair cushion, or “Bamboozled,” wherein the figure disappears into bamboo-themed furnishings. Sometimes a specific prop, like a brown donut-shaped phone or the black panther sculptures popularized in the early 20th century, forms the basis for an elaborate scene.

 

an elaborately staged photograph with an orange theme featuring a posed mannequin disappearing underneath a bed and overwhelmed by a chaotic scene of yellow insects crawling all over the place

“Bedbugged”

Carroll’s images often reflect domestic trends of the Atomic Age and the subsequent decades when post-war American society experienced a renewed optimism, privileging traditional family values and the “nuclear family.” The era is also marked by an explosion of marketing trends selling the fantasy of the “happy housewife,” replete with her scratch-cooked meals and effortlessly efficient, clean, and inviting home.

In contrast, Carroll’s Anonymous Woman is often swallowed by her surroundings, simultaneously clumsy and completely overwhelmed. “I grew up in a place where one’s drapes matched the sofa or bedspreads, and life was supposed to be ideal with 2.5 perfect children, a beautiful mother, and a rich father,” Carroll says. “Of course, none of this was true, but it was the myth of the perfect life. I have continued to satirize this illusion with humor, color, and beauty in my pictures.”

“Panther” was recently purchased for the 21C Museum Hotels collection and inspired an artist-designed suite at the Kansas City hotel, which opens this year. And “Smokin’” will soon be on view at ALMA Art and Interiors in Chicago. See more on the artist’s website.

 

an elaborately staged photograph with a neutral brown theme featuring a posed mannequin disappearing into a chair in which a dog sits in, too, overwhelmed by a chaotic living room scene

“Underdog”

an elaborately staged photograph with a brown theme featuring a posed mannequin collapsed over a dishwasher, with dishes surrounding her everywhere

“Dishwasher Dull”

an elaborately staged photograph with a bright color theme featuring a posed mannequin collapsed over a chair and overwhelmed by a chaotic scene of fruit themed furniture and decor

“Fruity”

an elaborately staged photograph with a green theme featuring a posed mannequin seated in the middle overwhelmed by a chaotic scene of tropical fruit and foliage decor

“Hawaiian Hangover”

an elaborately staged photograph with a black-and-white theme featuring a posed mannequin who has fallen off of a desk chair and is overwhelmed by a chaotic scene of home office items

“WFH”

an elaborately staged photograph with a green theme featuring a posed mannequin sprawled out on a couch and surrounded by panther motifs

“Panther”

an elaborately staged photograph with a brown theme featuring a posed mannequin sprawled over a chair with a brown donut phone and overwhelmed by a chaotic scene of smoky brown glassware

“Smokin’”

an elaborately staged photograph with a green theme featuring a posed mannequin sprawled over a chair and overwhelmed by a chaotic scene of grapes and wine

“Sour Grapes”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism appeared first on Colossal.