Razan AlSalah, Fatemeh Baigmoradi, Peter Hiatt, Melissa Kreider, Emily Wiethorn
Thursday, March 01 - 2:00PM to 4:00PM
Grand Ballroom Salon G
Five 18-Minute Graduate Presentations
Rephotography for Contested Hxstories, Razan AlSalah
AlSalah's father tells her he was definitely born on a "Stanton street" in Haifa. She consult the archive. "A well at the corner of the Burj St. (today Mawaleh Hashichrur), and Stanton St. (today Shivat Zion), Haifa, 1933." AlSalah finally locates the intersection of Burj and Stanton on Google Streetview. She's so happy. She's also a little bit nervous. This will be the first time she see's Palestine. AlSalah matches the archival image to the street intersection: this intersection is rephotography: the superimposition of different hxstories, different ways of imagemaking and different systems of oppression, all reflections of one another.
It's Hard to Kill, Fatemeh Baigmoradi
Around 30 years ago, a few years after the 1979 Islamic Revolution in Iran, Baigmoradi's father burned a lot of photos that referenced his membership in a specific pre-revolution political party. Her father and others burned these photos due to the risk of being arrested. Thinking of this act, brings into attention a few important questions about memory, history and their representation: How does self- censorship affect our memory and personal history? Does burning act omit the individual from individual or national history, or add non-representational characteristics to that? ...
No Unsacred Places, Peter Hiatt
"There are no unsacred places; there are only sacred places and desecrated places." - Wendell Berry
In the suburban landscape of the United States, retail centers are a dominant feature. These places often have a drainage ditch along their perimeter, where trees grow dense and high. The density of the trees creates the clear implication that they are not to be breached; that this is the edge of the space. Inside of the foliage, these ditches are shockingly, defiantly natural, even though it they have taken shape artificially. Hiatt's photographs confront these hidden places and the implications that they hold.
Remnants: The Realities of Sexual and Domestic Assault, Melissa Kreider
Remnants is an exploration of the successes or failures of the reactionary structures that are responsible for engaging victims of sexual and domestic abuse. Remnants ranges from sites of sexual/domestic assault, sexual assault evidence collection kits, the backlog of kits, the crime labs in which these kits are tested, and finally survivors themselves. These aspects create a complicated and intimidating maze of steps a survivor may maneuver if they choose to rely on the justice system for assistance. This work does not serve to create a negative response, but exists as evidence of the reality many face when assaulted.
A Certain Kind of Woman, Emily Wiethorn
Wiethorn aims to discuss issues of feminine identity, a woman's indeterminate place in our turbulent society and political climate, society's influence on us as we age, and how those choices impact our adult identities. Through Wiethorn's own personal experiences of growing up and the impact of her mother, she will examine these topics from a personal perspective while also giving the viewer context to relate the work back to their own life and experiences.