'Onion Soup' & 'Ballet Folklorico',
2024
California Polytechnic State University, San Luis Obispo
'Onion Soup' & 'Ballet Folklorico', Elyssa Abbott, Brooke De La Torre
.RAW Journal of Art and Design
No abstract provided.
'On A Stack Of Sketches' & 'Perception',
2024
California Polytechnic State University, San Luis Obispo
'On A Stack Of Sketches' & 'Perception', Sophia Levin, Leeza Polyakova
.RAW Journal of Art and Design
No abstract provided.
'On The Way' & 'Cinema 44',
2024
California Polytechnic State University, San Luis Obispo
'On The Way' & 'Cinema 44', Emma Lonardo, Brooke De La Torre
.RAW Journal of Art and Design
No abstract provided.
'"The Bread Of Life" Cookbook' & 'Daily Echos',
2024
California Polytechnic State University, San Luis Obispo
'"The Bread Of Life" Cookbook' & 'Daily Echos', Jennifer Leo, Chloe Krome
.RAW Journal of Art and Design
No abstract provided.
'1035 Monterey St' & 'The Record Store',
2024
California Polytechnic State University, San Luis Obispo
'1035 Monterey St' & 'The Record Store', Celeste Ibarra, Riley Williamson
.RAW Journal of Art and Design
No abstract provided.
'Sardines, Shnozzles, And Sneakers' & 'Looking Through A Different Lens',
2024
California Polytechnic State University, San Luis Obispo
'Sardines, Shnozzles, And Sneakers' & 'Looking Through A Different Lens', Maren Gunderson, Tyler Wynn
.RAW Journal of Art and Design
No abstract provided.
'A Bird Named Shelby' & 'Smokestacks',
2024
California Polytechnic State University, San Luis Obispo
'A Bird Named Shelby' & 'Smokestacks', Maya Benham, Miranda Kowalski
.RAW Journal of Art and Design
No abstract provided.
'Devil's Advocate' & 'Balboa Fashion Day',
2024
California Polytechnic State University, San Luis Obispo
'Devil's Advocate' & 'Balboa Fashion Day', Kristan Henderson, Rene Basso-Medel
.RAW Journal of Art and Design
No abstract provided.
'She's An Apple' & 'Encroaching',
2024
California Polytechnic State University, San Luis Obispo
'She's An Apple' & 'Encroaching', Lorelei Samuel, Julia Neils
.RAW Journal of Art and Design
No abstract provided.
'Bodega Cat' & 'Pressed',
2024
California Polytechnic State University, San Luis Obispo
'Bodega Cat' & 'Pressed', Jenni Martinez, Joie Rahn
.RAW Journal of Art and Design
No abstract provided.
'Hayley, Age 20' & 'General Electric',
2024
California Polytechnic State University, San Luis Obispo
'Hayley, Age 20' & 'General Electric', Haley Armstrong, Zevin Delaski
.RAW Journal of Art and Design
No abstract provided.
'Vending Machine' & 'From Sea To Plate',
2024
California Polytechnic State University, San Luis Obispo
'Vending Machine' & 'From Sea To Plate', Erin Robinson, Sophia Levin
.RAW Journal of Art and Design
No abstract provided.
'Thank U' & 'Women In White',
2024
California Polytechnic State University, San Luis Obispo
'Thank U' & 'Women In White', Daylin Enriquez, Makayla Grogan
.RAW Journal of Art and Design
No abstract provided.
'Vaguely Familiar' & 'Cut Out',
2024
California Polytechnic State University, San Luis Obispo
'Vaguely Familiar' & 'Cut Out', Cooper Mortensen, Zach Kanter
.RAW Journal of Art and Design
No abstract provided.
'Absurd Expressions' & 'Colors Of Home',
2024
California Polytechnic State University, San Luis Obispo
'Absurd Expressions' & 'Colors Of Home', Aviv Kesar, Asher Dolinger
.RAW Journal of Art and Design
No abstract provided.
Table Of Contents,
2024
California Polytechnic State University, San Luis Obispo
Opening,
2024
California Polytechnic State University, San Luis Obispo
Cover,
2024
California Polytechnic State University, San Luis Obispo
Full Issue,
2024
California Polytechnic State University, San Luis Obispo
Full Issue, Sarai Devi Dasi, Vivian Jameson
.RAW Journal of Art and Design
No abstract provided.
Without Us There Is No Britain: Black British Photography And Film Networks, 1950-1989,
2024
CUNY Graduate Center
Without Us There Is No Britain: Black British Photography And Film Networks, 1950-1989, Maria T. Quinata
Dissertations, Theses, and Capstone Projects
This dissertation tracks three moments from 1950 to 1989, when images were put to work by Black photographers and filmmakers to stake individual and communal claims to Britain and Britishness: first, through the emergence of photographic portraiture taken in domestic living spaces during the 1950s to 1970s; second, through the Black Panther Movement and their use of photography in the late 1960s to mid 1970s, and last, with the efflorescence of Black film and video collectives in the 1980s. At each of these moments, I attend to the simultaneous production, negotiation, and co-mingling of new social identities that were diasporic, …
