CAM Antiracist Resources

USFCAM exhibitions that can support discussions and activities for antiracist work

 

Marking Monuments
JANUARY 22 - MARCH 6, 2021

Engaging with the global dialogues confronting colonialist and racist monuments, markers and memorials in public space, Marking Monuments presents a selection of artists’ installations and interventions that challenge, erase and transform dominant histories, offering reimagined representations for equity in public culture. Marking Monuments includes projects by Ariel René Jackson, Joiri Minaya, Karyn Olivier in collaboration with Trapeta B. Mayson, John Sims, and Monument Lab. Marking Monuments is curated by Sarah Howard, USF Curator of Public Art and Social Practice; and organized by the USF Contemporary Art Museum.
http://cam.usf.edu/CAM/exhibitions/2021_01_Marking_Monuments/Marking_Monuments_2021.html

 

 

Still Here: The Griffith J. Davis Photographs and Archives in Context
January 22 - March 6, 2021

Still Here: The Griffith J. Davis Photographs and Archives in Context features rarely seen 1939 to 1988 era photographic imagery of the groundbreaking life and photographic practice of Griff Davis. A pioneer international photographer, journalist, U.S. Senior Foreign Service Officer, and photo-documentarian, Mr. Davis’ artistic and iconic photographs capture historical moments and figures, lifestyles, personalities and people across a spectrum of political, socio-economic and artistic sectors at the vortex of the Civil Rights Movement and the Independence Movement of Africa. His multi-media work will be fully displayed in context with thematically complementary contemporary artworks by artists Romare Bearden, Emory Douglas, Jacob A. Lawrence, Deana Lawson, Zanele Muholi, and Hank Willis Thomas. Still Here is curated by Dorothy M. Davis, President of Griffith J. Davis Photographs and Archives; Christian Viveros-Fauné, CAM Curator at Large; and Noel Smith, CAM Deputy Director and Curator of Latin American and Caribbean Art; and organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2021_01_Still_Here/Still_Here_2021.html

 

 

The Neighbors: Slide Shows for America
August 24 - December 5, 2020

The Neighbors: Slide Shows for America features photographic slideshows by artists Widline Cadet, Guy Greenberg, Curran Hatleberg, Kathya Maria Landeros, and Zora J Murff. Amid a polarizing 2020 election season and an evolving COVID-19 pandemic, each participating camera artist was commissioned to create a slideshow of underexposed communities in the United States. For this show, less is more: the photographic portfolios installed at the USF Contemporary Art Museum are displayed using traditional slide carousels, to evoke the intimacy of family and community slide shows of another age. Lisa J. Sutcliffe, Herzfeld Curator of Photography and Media Arts at the Milwaukee Art Museum, has contributed a curatorial essay. Curated by Christian Viveros-Fauné, and organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2020_8_The_Neighbors/The_Neighbors.html

 

 

Life During Wartime: Art in the Age of Coronavirus
An Evolving Online Exhibition at lifeduringwartimeexhibition.org
August 24 - December 5, 2020

Life During Wartime is USFCAM’s first major virtual exhibition. It asks more than 50 international artists to respond to the realities that have gripped the planet since March 5, the date the World Health Organization declared COVID-19 a worldwide pandemic. The exhibition takes full advantage of one of the few outlets artists still have—the Internet—during a public health emergency recently exacerbated by the wanton murder of George Floyd by police officers in Minneapolis. An evolving, real-time display, the exhibition mobilizes feeling, thought, and activity around art’s role as a conceptual catalyst. Artist contributions provide a picture of a planet in crisis, but also images of hope and optimism in the face of a global emergency. This exhibition is curated by Christian Viveros-Fauné, and organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2020_6_Life_During_Wartime/Life_During_Wartime.html

 

 

The Visible Turn: Contemporary Artists Confront Political Invisibility
January 11 - March 2, 2019

The four international artists in The Visible Turn: Contemporary Artists Confront Political Invisibility, Karolina Sobecka, Bosco Sodi, Tavares Strachan, and Jorge Tacla, present installations in response to the phenomenon of cultural concealment. They combine the presentation of objects and performances inside an exhibition venue with artist-directed activities that engage and support communities in the Tampa Bay area affected by political or social invisibility. Together, the works refer to people and ideas that have crucially been omitted from today’s social, political, economic, and cultural processes. According to Duchamp’s logic, invisibility is impotence. What is powerful is to be seen. Curated by Christian Viveros-Fauné; organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2019_1_The_Visible_Turn/The_Visible_Turn.html

 

 

Miki Kratsman: People I Met
August 20 – December 8, 2018

For three decades, Miki Kratsman has been one of the leading chroniclers of life in the Israeli-occupied territories. His photographs—many of them documentary images taken during a previous life as a press photographer for the Israeli newspapers Hadashot and Haaretz—uncover personal stories while revealing the violent, often detached nature of Israel's military occupation of the West Bank and Gaza. While trying to answer the question “What happened to the people in the photographs?” Kratsman amassed a vast archive of more than 9,000 portraits of anonymous Palestinians, which he first uploaded onto a dedicated Facebook page in 2011. The USFCAM installation materializes the artist’s growing portrait archive together with identifying commentary that, in some cases, serves as a literal proof of life—or death. People I Met raises questions about the culture of representation and continues the museum’s tradition of presenting challenging artwork with social content. The exhibition also includes a video titled 70 Meters...White T-shirt, and several recent photographic series. Curated by USF Contemporary Art Museum curator-at-large Christian Viveros-Fauné; organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2018_8_Miki_Kratsman/Miki_Kratsman.html

 

 

Climate Change: Cuba/USA
January 12 – March 3, 2018

This exhibition invites Cuban and Cuban-American artists to reflect on the consequences of the recent fluctuations in the relationship between the two countries. Artists Glexis Novoa, Celia y Yunior, Antonio Fernández "Tonel" and Javier Castro present new works in sculpture, painting, drawing, installation and video, that consider the changes, or "no changes," that the political and diplomatic developments have wrought in their personal lives and in Cuban society. Curated by Noel Smith; organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2018_1_Climate_Change_Cuba_USA/Climate_Change_Cuba_USA.html

 

 

BLACK PULP!
June 2 – July 20, 2017

Black Pulp! examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through rare historical printed media shown in dialogue with contemporary works of art. The exhibition highlights works by artists, graphic designers, writers, and publishers in formats ranging from little known comic books to covers for historic books and magazines, to etchings, digital prints, drawings, and media-based works by some of today’s leading artists. Black Pulp! is curated by William Villalongo and Mark Thomas Gibson. The exhibition tour is organized by International Print Center New York.
http://cam.usf.edu/CAM/exhibitions/2017_6_Black_Pulp!/black_pulp.html

 

 

Woke!
June 2 – July 20, 2017

Woke! brings together recent work by William Villalongo and Mark Thomas Gibson, artists and the curators of Black Pulp! The term “woke” is contemporary American vernacular terminology for acute awareness, particularly in reference to the socio-political contexts we inhabit. Woke! presents works made over the past two years, a time when the influence of the hyper-visuality of police violence upon Black bodies and the cultural currents of the Black Lives Matter movement informed new narratives in their practice. Woke! is organized by USF Contemporary Art Museum.
http://cam.usf.edu/CAM/exhibitions/2017_6_Woke!/woke.html

 

 

Extracted
August 22 – December 10, 2016

Growing consensus among scientists suggests that we live in a new geological epoch characterized by humankind’s impact on Earth: the Anthropocene. This impact is evidenced in part by remainders of fossil fuel production and consumption, petrochemical use, industrial agriculture and mining. Extracted brings together a group of artists whose work investigates the extraction of natural resources, and the material and cultural circulation of such resources around the globe. Participating artists: Mary Mattingly, Otobong Nkanga, Claire Pentecost, David Zink Yi and Marina Zurkow. Extracted is curated by Megan Voeller and organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2016_8_Extracted/Extracted.html

 

 

Histórias/Histories: Contemporary Art from Brazil
January 15 – March 5, 2016

Histórias showcased works by Jonathas de Andrade, Sonia Gomes, Virginia de Medeiros, Caio Reisewitz, and Luiz Zerbini, whose approaches address the varied histories of Brazil, some collective, some individual, but all rooted in reflections on the country’s complicated past and present, and vast geographical, racial, and cultural wealth and diversity. Curated by USFCAM Curator Noel Smith, with Dr. Agnaldo Farias, University of São Paulo; organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2016_1_Brazil_Histories/Historias.html

 

 

A Family Affair
August 24 – December 12, 2015

A Family Affair presents seven artists who explore personal identity and family relationships through photography, video, performance and animation: Renee Cox, LaToya Ruby Frazier, Kalup Linzy, Jacolby Satterwhite, Hank Willis Thomas, Corine Vermeulen and Deborah Willis. Adopting a range of approaches from documentary to fiction, they articulate visions of self situated within interpersonal and historical family contexts as well as broader social frameworks of race, class and gender, often working in collaboration with family members to realize their art. During the exhibition Corine Vermeulen was in residence and undertook a three-month community-based project in collaboration with the University Area Community Development Corporation, photographing residents of the University Area community adjacent to USF in exchange for stories of neighborhood and family life. A Family Affair is curated by Megan Voeller and organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2015_8_A_Family_Affair/A_Family_Affair.html

 

 

CAM@25: Social Engagement
January 17 – March 8, 2014

The USF Contemporary Art Museum celebrates its 25th anniversary with CAM@25: Social Engagement to highlight its history of bringing artists, and the practice of making contemporary art, to the Tampa Bay community. This selection of installations serves to mark CAM’s extensive history of exhibitions, commissions and collaborations with artists whose practices and projects embrace an ethos of responsible social meaning, purpose and motivation in the public sphere. Artists include Los Carpinteros, Pedro Reyes (Mexico), and Janaina Tschäpe (Brazil/Germany).
http://cam.usf.edu/CAM/exhibitions/2014_1_CAM@25/CAM25.html

 

 

SubRosa: The Language of Resistance
August 26 – December 7, 2013

SubRosa examines the language of art across continents and cultures in response to social, political, and environmental repression. Sometimes covertly and dangerously, the artists in SubRosa share a desire to question dominant political systems and the cultural status quo. Artists include Ai Weiwei (China), Ramón Esono Ebalé (Equatorial Guinea), Barbad Golshiri (Iran), Khaled Jarrar (Palestine), Zanele Muholi (South Africa), and José Toirac and Meira Marrero (Cuba). Curated by Noel Smith; Organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2013_8_SubRosa/SubRosa.html

 

 

Occupying, Building, Thinking: Poetic and Discursive Perspectives on Contemporary Cuban Video Art (1990-2010)
June 7 – August 3, 2013

This exhibition of videos by Cuban artists working worldwide invites contemplation of what it means to occupy (a home, a plot of land, a city, a society…) and the relationship between occupying and building and the concept of the work of art in today’s global culture. Three interconnected segments pose the question of how to reinvent a language for imagining what is public, private and intimate in a culture like Cuba’s, where civil society has been supplanted by the State. Curated by Dennys Matos and Noel Smith with installation by Vanessa Diaz, organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2013_6_CubanVideo/CubanVideo.html

 

 

We Done All We Could and None of It’s Good
Janaury 14 – March 10, 2011

Internationally acclaimed Texas-based artist Trenton Doyle Hancock is best known for his ongoing narrative and theatrical installations that thrust the viewer literally and figuratively into his personal, idiosyncratic, and, at times, heretical weave of words and images. This exhibition features new and selected works executed across a wide variety of media, including drawing, painting, collage, and sculpture. The exhibition also highlights a commissioned wall drawing. Curated by David Louis Norr; Organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2011_1_Hancock/Hancock.html

 

 

Sixty Minutes
May 18 – July 15, 2009

Sixty Minutes features videos by artists Olaf Breuning, Kate Gilmore, Luis Gispert, and William Villalongo, alongside interview-based profiles with each artist. Sixty Minutes is conceived to expose the diversity and complexity of artists’ process and provide an inspiring critical space to research, analyze and debate contexts for practice now and in the future. Curated by David Louis Norr; Organized by USFCAM.
http://cam.usf.edu/CAM/exhibitions/2009_5_SixtyMinutes/SixtyMinutes.html

 

 

Torolab: One Degree Celsius
August 25 – October 4, 2008

One Degree Celsius is part a series of projects called Molecular Urbanism developed by Torolab, a Tijuana-based consortium of artists, architects and designers. For USFCAM the artist collective morphed the gallery space into an actual proposal and a laboratory for creative experiments investigating the multiple uses of a garden. The exhibition included drawn proposals for large-scale architectural interventions (on the USF campus and downtown Tampa), displayed with functional sculptural elements. This commissioned museum installation was staged in conjunction with the colloquium Art as a Catalyst for Social Transformation and Film Screenings: Socially-Engaged Artistic Practices.
http://cam.usf.edu/CAM/exhibitions/2008_8_Torolab/Torolab.html

 

 

Homing Devices
October 26 – December 15, 2007

Homing Devices is a group exhibition that considers the way contemporary Latin American and Caribbean sculptors—who may live and work anywhere in the world—approach the idea of home in context of increasing globalization, mobility, exile and migration in the Americas. By including works that are accented but not defined or delimited by cultural, geographical, and national boundaries, the exhibition considers the vital question of how art and artists preserve their identity within a global landscape. Homing Devices was curated by Corina Matamoros, Curator of Contemporary Cuban Art at the National Museum of Fine Arts, Havana, and Noel Smith, USF.
http://cam.usf.edu/CAM/exhibitions/2007_10_Homing_Devices/homing_devices.html

 

 

Berni Searle: Approach
October 27 – December 16, 2006

Berni Searle: Approach, is a multidimensional program with internationally celebrated South African artist, whose work in performance, photography, film and video installation address racial and gender inequities through the use of her body, personal histories and the construction of personal mythologies. After just over a decade of democracy, contemporary South African artists are examining identity and culture, and the clash of modern technologies with traditional practices and values. Searle came to the public’s attention in 1997 with an installation that was an important component at the 2nd Johannesburg Biennale, based at the Castle of Good Hope in Cape Town, where she lives and works. 
http://cam.usf.edu/CAM/exhibitions/2006_10_Berni_Searle/Berni_Searle.html

 

 

Dragon Veins
January 13 – March 11, 2006

Dragon Veins surveys a variety of ways in which traditional East Asian art informs contemporary painting. The twelve artists idiosyncratically mine East Asian traditions of Chinese landscape painting, Buddhism, ukiyo-e, emaki, bunraku, nihon-ga and kazari, intermixing them with current political events, hip-hop culture, geological maps, modernist abstraction, bodily experience, Dr. Seuss, anime, Post-Impressionism and more.
http://cam.usf.edu/CAM/exhibitions/2006_01_dragon_veins/dragonveins.html

 

 

Los Carpinteros: Inventing the World
April 8 – July 15, 2005

Inventing the World / Inventar el mundo is the first mid-career survey of the work of Los Carpinteros, a collective of young Cuban artists who live and work in Havana, Cuba. The artists—Marco Castillo, Dagoberto Rodriguez, and until 2003 Alexandre Arrechea—began to work together as students in the early 1990s at Havana’s prestigious Superior Institute of Art (ISA) and have since emerged as important presences on the expanding global terrain of art. Approximately 35 works, from Los Carpinteros’ body of drawings, paintings, prints, sculptures and installations created since the mid 1990s, were selected according to a three part taxonomy that corresponds to the idea of inventing the world, or designing basic needs for organized human life. Curated by Margaret Miller, Director and Noel Smith, Curator from the USF Institute for Research in Art, and from Cuba’s National Museum of Fine Arts, Corina Matamoros Tuma.
http://cam.usf.edu/CAM/exhibitions/2005_04_los_carpinteros/los_carpinteros.html

 

 

The Field's Edge: Africa, Diaspora, Lens
October 18 – December 21, 2002

The Field's Edge is a multimedia exhibition that explores the relationship between contemporary art and colonial ethnography, most notably the legacy of colonial ethnography on readings of contemporary art from Africa and the Diaspora. The visual exploration of this contested relationship between art and ethnography focuses on major themes around the politics of narrative and domestic life. The exhibition is guest curated for CAM by Rory Bester and Amanda Carlson.
http://cam.usf.edu/CAM/exhibitions/2002_10_fields_edge/fields_edge.html

 

 

Contemporary Art from Cuba: Irony and Survival on the Utopian Island
May 19 – July 14, 2001

This exhibition presents the work of 16 Cuban artists of the 1990s who explore irony as a strategy for psychological survival and oblique commentary. Embedded in their art is the notion that when political and personal problems are inescapable, humor may be one of the few outlets for the frustration, and a practical means to maintain stability within a context that appears at times to be rules by irrationality. The works reflect various views of the 1959 revolution and the realities of life in Cuba under the United Sates embargo. The exhibition is curated by Marilyn Zeitlin, Director of Arizona State University Art Museum in Tempe, and traveled by Independent Curators International (ICI), New York.
http://cam.usf.edu/CAM/exhibitions/2001_06_Contemporary_Cuba/art_cuba.html

 

 

Dreamtime, Our Time: The Eternal Circle
August 25 – October 4, 2008

The exhibition featured an installation commissioned by contemporary Aboriginal artist Fiona Foley. Foley conceived a provocative work that addressed issues of identity, influenced by her heritage, as well as her recent exposure to the Seminole Indians of Florida. A historical exhibition of Aboriginal bark paintings from Arnhem Land, gathered over 50 years ago by Dr. Patricia Waterman, noted anthropologist and USF Emeritus Professor, will complement Foley's project. These bark paintings were selected by Djon Mundine, Senior Curator, Gallery of Aboriginal Australia, National Museum of Australia, Canberra. Also on display will be Native American clothing and objects from the Collection of Sara W. Reeves and I.S.K. Reeves V, and the Seminole Ah-Tah-Thi-Ki Museum, Seminole Tribe of Florida, curated by Dr. Brent Weisman, USF Professor of Anthropology.
http://cam.usf.edu/CAM/exhibitions/2001_01_Dreamtime/dreamtime.html

 

 

Amnesia: Contemporary South American Art
August 23 – October 16, 1999

This exhibition represented 16 artists from Argentina, Brazil, Columbia and Venezuela that explore current artistic, political and cultural discourses taking place in South America. Curated by Christopher Grimes of Los Angeles, the show also considered the idea of South America as a forgotten continent (as the title suggests) within the context of the Western art world, and how issues are still formed, shaped and processed through a colonial history.
http://cam.usf.edu/CAM/exhibitions/1999_09_Amnesia/amnesia.html

 

 

ART IN THE NEWS
January – December, 1999

ART IN THE NEWS was a year-long exhibition of artworks designed for the newspaper medium. The project was curated by Margaret Miller, Director of USFCAM and Jade Dellinger, Independent Curator. Twelve artists were invited to design a work to appear one Sunday a month from January to December 1999, in The Tampa Tribune, Sunday Edition. Artist's talks were scheduled in conjunction with each project.
http://cam.usf.edu/CAM/exhibitions/1999_01_ArtInTheNews/artinthenews.html

 

 

CROSS/ING: TIME • SPACE • MOVEMENT
September 4 – October 18, 1997

An exhibition of work by African artists practicing in the international contemporary art world. The show was organized by USFCAM in collaboration with the Museum of African American Art, Tampa. Curated by Olu Oguibe, Ph.D.
http://cam.usf.edu/CAM/exhibitions/1997_09_Space/space.html

 

 

For more information about CAM’s antiracist work, please contact Noel Smith, Deputy Director, at nsmith@usf.edu or 813-974-5866

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