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INSTALLATIONS
Mississippi is America

Witness to Dissent

Sandy Ground

Re(Union)

Passages

100 Americans

Hope

ARTIST'S BOOKS
Reading Dick & Jane with Me

What's Happening with Momma?

Hiroshima, Hopes & Dreams


Voyage(r)

Wrongly Bodied Two

It Wasn't Little Rock

Wrongly Bodied: Documenting Transition from Female to Male

SERIES
The Masculinity Project

Reframing the Past

Reading Dick & Jane

Suburban Atlanta


Jake in Transition

Sunflowers

PRINTS, ETC.
Images

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Reframing the Past could also be titled Re-Reading the Family Album. From 1984 to 1994, Sligh’s work centered on a re-investigation and re-evaluation of her family’s photo album. Growing up in the blue collar, black neighborhood of Halls Hill in Arlington, Virginia in the 1950’s, keeping up the family album was something the artist took great pride in. Not realizing that her early family album project was created through the lens of a stereotypical white American family, she saw the project as making a record of positive images of her black family.

ARTICLES AND ESSAYS:
Singer, Debra S. "Clarissa Sligh: Re-Priming the Social Self." Rhode Island College, Providence, RI. 1997
www.ric.edu

Marks, Laura. "Reinscribing the Self." Rhode Island College, Providence, RI. 1997
www.ric.edu

Sligh, Clarissa. "Home Truths", What Can a Woman do With a Camera?, edited by Jo Spence and Joan Solomon, Scarlet Press, 1995, London.

Marks, Laura U. "Healing the Cultural Body: Clarissa Sligh's Unfinished Business." Center Quarterly, #50, 1992, pp. 18-22. A publication of The Center for Photography in Woodstock, NY.

Klinger, Linda S. "Where's the Artist? Feminist Practice and Poststructural Theories of Authorship", Art Journal, 50:2 (Summer, 1991), pp. 39-47

Marks, Laura U. "Reinscribing the Self: An Interview with Clarissa Sligh." Afterimage, 17:5 (December, 1989). Also online:
www.ric.edu

Maksymowicz, Virginia. "Icons of Family Life Make Grist for Artist's Mill." New Directions for Women, 18:1 (January/February 1989).

REVIEWS:
Cotter, Holland. "At the Whitney, Provocation and Theory Meet Head-On." New York Times, August 13, 1993.

Moore, Darrell. "The X Factor." New Art Examiner, Vol.20, No.8, April 1993, pp.18-22.

Harrison, Helen A. "Clarissa T. Sligh: Photographs." New York Times, November 8, 1992.

Van Proyen, Mark. "Clarissa Sligh", Artweek, 21:36 (November 1, 1990), p.17.

Auer, James. "Fighting back: Clarissa Sligh uses art to combat stereotypes." The Milwaukee Journal, October 28, 1990.

EXHIBITION CATALOGUES:
The Museum of Modern Art. Thinking Print: Books to Billboards, 1980-95. Exhibition Catalogue. New York, N. Y., 1996. p. 99 (illus.)

The Museum of Fine Arts, Florida State University. The Gun as Image. Exhibition Catalogue. Tallahassee, FL., 1997, p. 44 (illus.)

Trierer Kunsttage 1995. Fotografie Aus Den U.S.A.: Lawrence McFarland, Clarissa Sligh, Byrd Williams, Exhibition Catalogue, Städt. Museum Simeonstift, Trier, 1995.

The Whitney Museum of American Art. The Subject of Rape. Exhibition catalogue. New York, N. Y., 1993. p. 34 (illus.)

Southeastern Center for Contemporary Art. PERSONAL NARRATIVES: Women Photographers of Color. Exhibition catalogue. Winston-Salem, N. C., 1993. p. 13 (illus.)

Robert B. Menschel Photography Gallery, Syracuse University. Clarissa Sligh: The Presence of Memory. Exhibition catalogue. Text by Jeffrey Hoone. Syracuse, NY,1991.

Visions of Life, Chuck Levitan Gallery. Text by Eleanor Heartney. New York, NY, 1990. p. 13 (illus.)

Convergence: 8 Photographers, The Photographic Resource Center in collaboration with Visual StudiesWorkshop. Text by Deborah Willis and Edmund B. Gaither. Boston, Massachusetts, 1990. pp. 22-23 (illus.)

Intar Gallery. Personal Odysseys: the photography of Celia Alvarez Munoz, Clarissa T. Sligh, and Maria Martinez-Canas. Travelling Exhibition catalogue. Text by Moira Roth. New York, N.Y., 1989. pp. 3-8 (illus.)

Politics of Gender. Exhibition catalogue. Text by Lenore Malen. Bayside, New York, 1988. pp. 32-33 (illus.)

BOOKS INCLUDED IN:
Willis, Deborah, Family History Memory: Recording African American Life, Hylas Publishing, 2005, Irvington, NY, pp. 185-186.

Willis, Deborah and Carla Williams. The Black Female Body: A Photographic History, Temple University Press, 2002, Philadelphia, PA. pp. 148, 193-195.

Hall, Stuart and Mark Sealy. Different: Contemporary Photographers and Black Identity, Phaidon Press, 2001, London and New York, pp. 73-76, 158-160.

Willis, Deborah. Reflections in Black: A History of Black Photographers, W.W. Norton, 2000, New York, pp. 283.

Hirsch, Robert. Exploring Color Photography, Brown & Benchmark, Third edition, 1997, Madison, WI, pp 296.

Rosenblum, Naomi. A History of Women Photographers, Abbeville Press, 1994, New York, NY, pp. 266, 321, 345.

Neumaier, Diane. Reframings: New American Feminist Photographers, Temple University Press, 1996, Philadelphia, PA, pp 72-75.

Spence, Jo and Joan Solomon. What Can a Woman do with a Camera?, Scarlet Press, 1995, London, pp. 61-66.

George, Alice R., Abigail Heyman and Ethan Hoffman. Flesh & Blood, The Picture Project, 1992, New York, NY, pp 146-147.

 

Reframing the Past