LALI KHALID: Home. In my heart, beating far away.

PRESS RELEASE
FOR IMMEDIATE RELEASE

‘Home. In My Heart, Beating Far Away’    LALI KHALID 

(Artvoices Art Books) 

"Home. In my heart, beating far away." is a narrative collage of photographs, captured over a span of ten years. This first monograph examines Lali’s exploration as an immigrant, grappling with issues of identity, home, family and diaspora. In her photographs, she illustrates complex challenges where she is continually shifting, trying to find new ways of retaining her identity in an environment of changing ideologies and perspectives.

Khalid seeks to bridge two ends of the spectrum, the fading past and the vague future. The images, when viewed without a predetermined perception, reveal the evolving stories embedded in them. 

This book includes essays by Professor Allen Frame and Professor Jaspal Kaur Singh.

“Changing the photo language from the psychological to the conceptual, these images depict a procession of mood shifts denoting the vagaries of her existence. There is a sense of optimism, as if a desired change would follow upon a new set of circumstances, but instead, the pieces of cloth, like clouds or shadows or thought balloons, end, and we are back in the anxiety of coping, with signs of worry and confrontation— through court proceedings and darker moods which extend to the images of the child, who is now more often seen in the same dramatic, concealing light with which we were introduced to his mother. In one of the last ones, he has caught his head in her black t-shirt that covers the whole contours of his face. He has become an extension of her; metaphorically, her constraints are now his. “    

- Introduction Excerpt by Adjunct Professor Allen Frame Assistant Professor SVA, Pratt Institute & ICP

“Symbolizing the theme of journeys and movements, of loss of identity and the recreation of new ones, Khalid integrates plentitude in the image of her small son who, in the initial shots, is her mirror image and close to her body, but through time and space, stands in isolation, beseeching her simultaneously for protection and independence, but he is never too far from her watchful gaze. The diasporic move from one continent to another, from one cultural space to another, the simultaneous sense of displacement and of belongings are reflected in many of the shots: Khalid, returning the gaze back to the dominant spaces of the US or Pakistan, whether she is in the fields, by the tires, or by the railway tracks. The images are ambiguously placed, as they are simultaneously bright or dark, signifying both expansion and loss—she is self- reflexive as a mother with her small son in the pool, she is sitting isolated and apprehensive in a courthouse, she is prayerful in a green head scarf, she is forever aware of the loss of culture and identity, yet she has agency for, although she is an immigrant and a Muslim in a post 9/11 world, she reconstructs her identity as empowering through remembrance, in the images of her sister and mother, or through the act of emerging from darkness with a white cotton top, or her son, sitting in the circle of her arms, looking directly at the camera—she is forever rebuilding and recreating her identity as an South Asian American in the private and public spaces of the nation.”          

 – Foreword Excerpt by Professor Jaspal Kaur Singh Professor, Department of English Northern Michigan University

Lali Khalid (Self Portrait)

Mehreen (Lali) Khalid came to the United States from Pakistan in 2007 as a Fulbright Scholar and attended Pratt Institute, NY where she received an MFA in Photography in 2009. After returning to Pakistan for two years, she immigrated to the United States in 2011.

Issues relating to diaspora, identity, family and home dominate Khalid’s photographic inquiry. Her images focus on cultural and private conflicts, broaching these topics obliquely through the emotive effects of natural light, and subdued narrative allusion. By photographing primarily in color, and using the startling qualities of “found light,” Khalid’s photographs exist between a mood of quiet longing.

Lali Khalid has shown her work in numerous exhibitions throughout Europe, Pakistan, and the U.S., including most recently at Light Work, Roy G Biv and DeVos Art Museum. She is currently an Assistant Professor of Photography in the Roy H. School of Communications, Ithaca College, Ithaca, NY.

Please click the link below to purchase a FIRST EDITION copy: 

Lali Khalid ‘Home. In My Heart, Beating Far Away’

https://www.artvoicesartbooks.com/shop/lalikahlid

Artvoices Art Books is an independent publisher that will focus on the platform of providing limited edition art monographs, books and catalogues on artists who possess an independent voice. Each monograph, book and or catalogue released with Artvoices Art Books is an artist of like mind and vision.  Artvoices Art Books concept is to champion artists who are important and relevant living and working in America. Artvoices Art Books sole mission is to create limited edition quality monographs, books and catalogues that are relevant, important and necessary. Artvoices Art Books is a necessity in continuing and or starting a necessary dialog with the art community and the public at large. We believe people buy art monographs, books and catalogues that define, mirror and educate their lives. Artvoices Art Books will champion the artists who make a difference, so they don’t go undocumented in the sea of derivative trends. Artvoices Art Books is committed to publishing outstanding illustrated monographs, books and catalogues on artists that are contributing to the landscape of contemporary art. Artvoices Art Books creates works of art in the form of monographs, books and catalogues to celebrate and recognize great artists for the now and next generations of contemporary art. 

For more information about Artvoices Art Books, visit: http://www.artvoicesartbooks.com.

PRESS High-Resolution images and complimentary books available upon request.

Book Details:

Lali Khalid ‘Home. In My Heart, Beating Far Away’

Softcover, 8.5 x 11 inches

104 pages

Color photographs

ISBN: 978-1-7320048-0-1

Edition: English

US $40.00

Availability: In Stock

Media contact: 

Terrence Sanders-Smith

Email: artvoicesartbooks@gmail.com / Cell: 1 310 906 5780

JAMEL SHABAZZ: Pieces of a Man

Jamel Shabazz

'Pieces of a Man'

1980 - 2015

PRESS RELEASE
FOR IMMEDIATE RELEASE

‘Pieces of a Man’ (UNDERGROUND Art Books 2016) brings together 25 years of street photographs by noted American photographer Jamel Shabazz.

 “I am forever grateful to have the treasured gift of vision and equally as thankful to the thousands of people who stood before my lens and allowed me to document their essence; without you there would be no work.“ – Jamel Shabazz

The book includes texts from Paul M. Farber a scholar of American and Urban Studies. He is currently a Postdoctoral Writing Fellow at Haverford College. Farber received a PhD in American Culture from the University of Michigan. He previously was the Doctoral Fellow at the German Historical Institute in Washington, D.C., and a visiting scholar in the Urban Studies program at the University of Pennsylvania. Akintola Hanif is the Founder & Editor-In-Chief of Hycide Magazine. Terrence Jennings (writer/photographer) began professionally photographing in 1997 and since, his images have appeared in such publications as People Magazine, The New York Times, Vibe Magazine, Rolling Stone Magazine, The Source Magazine, Russell Simmons' One World Magazine, The London Observer, The Amsterdam News and The Village Voice. Sohail Daulatzai is an Associate Professor in the Department of Film and Media Studies and African American Studies at the University of California, Irvine.

Summer in the NYC 1984

"Beginning in Brooklyn’s tight-knit neighborhoods, including his own, Jamel Shabazz captured a true reflection of people of color now revered as a form of social commentary. His work resonates around the world because it is authentic. He has the authority to speak for us and yet he maintains genuine humility and respect for his people. From the streets of Brooklyn to Europe to Africa, Jamel’s work is inclusive and compassionate without imposing his views on how people should represent themselves. He gives his subjects control over their own image, and in that you see the dignity that he sees in them; turning everyday people into icons. While some celebrate an era or style, Jamel reminds us to celebrate the people, not just the image."

–      Excerpt by Akintola Hanif, Founder & Editor-In-Chief of Hycide Magazine.

Father & Son

"Like his photographic influences—James Van Der Zee, Gordon Parks, and Leonard Freed, among others—Shabazz shares the ability to extend his perception of historical time across registers: from the moment he captures his images to their sequencing in monographs through the process of sorting and presenting work out of his archive to make an argument that pushes the status quo. His practice of naming his influences and riffing on their iconic images is a sincere form of intellectual and artistic respect. Shabazz carries the mantle of his received tradition even as he adapts to shift with changes in the art form. In turn, the uses of his photographs are far reaching as well—from album covers to fashion campaigns and, most powerfully, as they take their place in museum collections such as the Smithsonian’s National Museum of African American History and Culture. With extensive global audiences and interlocutors for his work, he also regularly connects with his admirers on social media and on trips abroad, sometimes reconnecting with the subjects of his photography from earlier decades. In these ways Shabazz’s work, while deeply concerned with the passage and organization of time, has crossed multiple borders and thus achieved a rare form of timelessness. Shabazz’s career continues to evolve as a long arc. His immense archive gains new layers of meaning through each project as he continues to document the mechanisms and movements of history. He continually produces new possibilities for historical reflection, awareness, and action. The pieces of his lifelong artistic practice cohere across time through long-established modes of connection, from encounter to encounter, image to image, and project to project. In short, through his use of photography, Shabazz shapes history."

–      Excerpt from Reflecting Forward by Paul M. Farber

When 2 Worlds Meet

"Social endeavors, religious gatherings, political engagements abound through the People›s Photographer, Jamel Shabazz. Much more than that, we find a community full of vibrancy and articulation bent on sticking it to the powers-that-be, that indeed we do exist and here is proof. We see Poets, Writers, Athletes, Politicians, Mothers, Fathers, Entertainers, Religious Leaders and everyday heroes abounding in his new work, all symbolizing the connective link in the book of life. Shabazz’s images are the gift that keeps giving. His love for humanity and his ‘forever ever backwards never’ mantra that he imbues us with in this new collection of images lends away to a bygone era where comradery was king. With the use of mobile and interactive technology the masses have lost touch with human engagement and family functions. The images laid before you in this book hark to an era where life was better and possessed a greater sense of being."

–      Excerpt by Terrance Jennings

Church Ladies

"It would be seductive to look at his photos and see an innocence there, or to try and find that marketing fetish of “dope” and “fresh.” That’s no doubt there, but that ain’t all. Jamel’s photos do reveal a style and swagger, but don’t mistake that for a lack of substance. That’s too often done in these nostalgic “back in the day” narratives – they fetishize the style that’s worn but don’t celebrate the people who are wearing it. The boldness you see and the style and swag you admire are part of a resilience and resistance – a celebration of life amidst the maddeningly surreal and even absurd violence directed at Black and Brown people who are caught on the barrel end of Amerika."

-Excerpt from 2000: Age of Obama by Sohail Daulatzai

An Uncertain Future

Jamel Shabazz was born and raised in Brooklyn, New York. At the age of fifteen, he picked up his first camera and started to document his peers. Inspired by photographers Leonard Freed, James Van Der Zee, and Gordon Parks, he was marveled with their documentation of the African American community. In 1980 as a concerned photographer with a clear vision he embarked on a mission to extensively document various aspects of life in New York City, from youth culture to a wide range of social conditions. Due to its spontaneity and uniqueness, the streets and subway system became backdrops for many of his photographs.

Shabazz says his goal is to contribute to the preservation of world history and culture. In the past 10 years he has had over two dozen solo exhibitions; “Men of Honor”, “A Time Before Crack”, “Pieces of a Man”, “Represent”, When Two Worlds Meet”, “Back in the Days,” and “Seconds of my Life,” which have been shown from Argentina to The Netherlands, England, Italy, Germany, France, Japan and throughout the United States.

Solo and Group exhibitions include Art Basel; Miami, the Brooklyn Museum, the Newark Museum, the Contact Photo Festival, the Victoria and Albert Museum, The Studio Museum in Harlem, Duke University, and the Adidas Photo Festival in Ethiopia.

Over the years Jamel has volunteered, working with a wide range organizations centered on inspiring young people in the field of photography and social responsibility.  In addition, he has been a teaching artist with the Rush Philanthropic Arts Foundation; the Bronx Museum’s Teen Council youth program, The International Center of Photography, Friends of the Island Academy; and the Studio Museum in Harlem’s Expanding the Walls Project.

Adding to his community service he has lectured at the The International Center for Photography, Fashion Institute of Technology, The Brooklyn Historic Foundation, Haverford College and Parsons New School of Design.

101 Contemporary Artists

PRESS RELEASE
FOR IMMEDIATE RELEASE

This special volume 1 edition features 101 of the most exciting artists from around the World. Curator Terrence Sanders has complied a survey of emerging and mid-career artists of the 21st century. The selection includes a wide variety of works by pioneering artists like Dan Tague, Jamel Shabazz, GEN Atem, Marcus Jansen, Franko B, John Boone, Walter Bortolossi, Miriam Bossard, Clayton Campbell, Laura Chasman, Eteri Chkadua, Citizen X, Sid Daniels, Mark Harris, Jed Jackson, Marilyn Murphy, alongside artist Jessica Barroso Gomez, Shannondoah Buckley, Cecilia Charlton, Christopher Paul Dean, Scott Gengelbach, Graham Goddard, Hollis Hammonds, Nimai Kesten, Jenna Knoblach, John LaMacchia, Sherri Littlefield, Ariel Lockshaw, Michael Pribich, Gregory St. Amand, & Johan Wahlstrom.

Dan Tague "Ownership is Oppression

Featured artists include:
LARRY AARONS, DENISE ADLER, ARIANE AHLMANN, SARAH AHMAD, SHAFAQ AHMAD, JOSÉ ALVARADO, MARGERY AMDUR, JOHN CHRISTIAN ANDERSON, GEN ATEM, FRANKO B, JESSICA BARROSO-GOMEZ, MICHELLE BENOIT, LAURA BLACKLOW, CARMELO BLANDINO, JOHN BOONE, WALTER BORTOLOSSI, MIRIAM BOSSARD, JUDITH BRANDON, SHANNONDOAH BUCKLEY, CLAYTON CAMPBELL, KATHLEEN CAPRARIO, IRENE CHRISTENSEN, CECILIA CHARLTON, LAURA CHASMAN, ETERI CHKADUA, MICHAL CIMALA, PAUL COLLINS, GLENN CONNELLY, CITIZEN X, BIBI DAVIDSON, SID DANIELS, CHRISTOPHER PAUL DEAN, MICHELLE ELMORE, MARIA FRAGOUDAKI, COLLEEN GARIBALDI, SCOTT GENGELBACH, KEVIN CONNOLLY GILLESPIE, PETER GLENDINNING, JENNE GLOVER, GRAHAM GODDARD, MICHAEL GRIESGRABER, HOLLIS HAMMONDS, JOHN HAMPSHIRE, JERELYN HANRAHAN, S.P. HARPER, MARK HARRIS, MARY HRBACEK, MARLANA STODDARD HAYES, HUBERT JACKSON, JED JACKSON, MARCUS JANSEN, KELLY JO SHOWS, ANNE JOHNSTONE, CHRIS JUSTICE, ANDRZEJ MICHAEL, NIMAI KESTEN, BRUCE KEYES, JENNA KNOBLACH, NATALYA KOCHAK, MIRANDA LAKE, JOHN LAMACCHIA, KIRSTIN LAMB, SANDY LITCHFIELD, SHERRI LITTLEFIELD, ARIEL LOCKSHAW, TALITA LONG, CJ LORI, LUCINDA LUVAAS, KARA MARIA, ROBYN MARSHALL, DONALD MARTINY, HILDY MAZE, BB MCINTYRE, MATTHEW MCKEE, MARILYN MURPHY, SHEILA NEUFELD, TOSHIKO NISHIKAWA, KINGA OWCZENNIKOW, RONALD OWNBEY, HEEBEOM PARK, LOU PATROU, ANITA PELTONEN, JAMES PETRUCCI, MICHAEL PRIBICH, RAJKO RADOVANOVIĆ, RALPH ROETHER, LINDA SERRONE ROLON, TERRENCE SANDERS, NICK SAVIDES, CAROLYN SCHLAM, ON KYEONG SEONG, JAMEL SHABAZZ, GREGORY ST. AMAND, ALFRED STONE, PAM SUTHERLAND, DAN TAGUE, ADRIAN TONE, AMY KANKA VALADARSKY, JOHAN WAHLSTROM, MARILYN WALTER, SIRARPI HEGHINIAN WALZER, ANNE WARD, DANA WEST, YEE WONG, WEI XIONG & EGON ZIPPEL.

Jed Jackson 'Horsey'

Sherri Littlefield 'Hello Bombshell'

60 Americans

PRESS RELEASE
FOR IMMEDIATE RELEASE

’60 Americans’ is a response to the ill-gotten gains of flipper based collectors, money corrupted and trend obsessed gallerists, shopping mall (puppy mill/factory) inspired art fairs, nepotism and favoritism of the made men and women of fast track MFA programs in America. This exhibition will offer an alternative perspective on what’s arguably relevant and important in the current landscape of American contemporary art.

Curated by Noah Becker, Alexander Venet & Terrence Sanders

Text by Noah Becker, Jonathan Goodman, Sol Sax, and Terrence Sanders.

Jamel Shabazz

“60 Americans is an anthology of the American condition, its collection of disparate identities serving as an example for what the entire world will eventually look like, if it hasn’t happened already.” – Jonathan Goodman

Stephanie Keith

“60 Americans is an honest examination of the current climate of contemporary art from artists who live and work in America.” 

- Terrence Sanders

Rajko Radovanovic

“Diego Rivera was celebrated because of social realism. When Rockefeller invited him to do frescos at Rockefeller center and Diego depicted the Soviet Revolutionaries. Rockefeller had the frescos removed. Rockefeller stopped supporting the socio-politically charged Social Realism and started supporting Abstract Expressionism. Today the rich are still trying to find safe art to invest their money in. ‘60 Americans’ is an exhibition featuring the dangerous images with a narrative that the wealthy attempt to avoid.” – Sol Sax

Miru Kim

“The basic premise is that real art and real artists can and should have the right to excel in a just society. Those real artists who take their work seriously and spend a lifetime working on their art become marginalized overnight through exhibitions dedicated to trends that revolve around this kind of shock and awe curating.” – Noah Becker

Satomi Shirai

Terrence Sanders-Smith

'Dead Lost or Displaced' 

PRESS RELEASE
FOR IMMEDIATE RELEASE

“I conceptualized and created this series to document the lives of Louisiana natives mostly in and around New Orleans and Baton Rouge. It never occurred to me that this series would become my memorial so to speak to the innocent, who either are dead, lost or displaced due to the events that occurred after Hurricane Katrina struck New Orleans. During the 11 day AFTERMATH of Hurricane Katrina, the one thing that helped me cope with the despair and anger was working on the sentiments to place with the images.” - Terrence Sanders

Innocence Lost

Dead Lost or Displaced features excerpts from the New Orleans Times Picayune article ‘Peace Among the Ruins’ by Pulitzer prize winner Chris Rose author of 1 Dead in Attic, which is a collection of stories recounting the first four harrowing months of life in New Orleans after Katrina. The book went on to become a New York Times Bestseller and garnered a number of accolades.

Envy Jealousy

“Take the compassionate eye of photographer Walker Evans, add the contemporary tragedy of Hurricane Katrina and a dash of poetry, and you have Terrence Sanders. Sanders’s subjects confront the camera willingly and without coercion, with a variety of attitudes—some are vulnerable, others manage a shy or sheepish smile, a couple of them look high on something; all are united by their education in the School of Hard Knocks.  "There but for the grace of God go I," might be the first thought to occur to viewers, followed by the question: What happened to these people that made them slip through the cracks?  Was it moral weakness or just plain bad luck?

Every day we pass people like this, on our way to work or in the supermarket parking lot, waiting by the bus stop, and often they barely register on our consciousness—and that is surely the express purpose behind Sanders' work: to make us look these people in the eye.  These artworks preserve a momentary impression of a specific person on a certain day that for some reason the artist found worthy of documentation.  Their presence is not immediate and palpable, but rather somewhat abstracted, shaped by the black and white film and the addition of diaristic prose that is yet subjective, from the artist's point of view.  These artworks are politically motivated—they get under your skin, and once there, make themselves impossible to ignore.  "You do your part and I'll do mine," the artist has written.  Point well taken, Mr. Sanders. - JoAnne S. Northrup, Director of Contemporary Art Initiatives at the Nevada Museum of Art and the former Chief Curator at the Katie and Drew Gibson San Jose Museum of Art.

Candelight Flickers

“The essential function of a memorial is to preserve a memory. Against the erosion of time, memorials resist the human flaws of forgetfulness and apathy. When executing his “Dead, Lost, or Displaced” series in the days immediately following Katrina, Sanders was unaware that he was creating his own kind of memorial. Two memories are simultaneously preserved: photographic documentation of living or once living New Orleanians. Their presence exists as an affirmation of what was and what continues to persist. The other memory preserved is one that many can relate to: the surge of emotions and concerns at that moment of crisis. The words commemorate something more intangible, but which nonetheless has a equally ‘felt’ presence in this town.” -Miranda Lash, Speed Art Museum’s Curator of Contemporary Art and the Former Curator of Modern and Contemporary Art at the New Orleans Museum of Art. 

Stronger Means

“We all have things / issues we doubt to say, things we think embarrassing or shameful to express. The people in Terrence Sanders's photography are saying this without speech without sound but through capture of emotion and feeling through sight. They made me think and not speak just wonder and relate.” -Michaela Kastly, Camera Press Gallery, London.

Alone Listen

“This body of work puts a huge twist on documentary photography. As we sometimes selfishly attach to someone’s image because they have an intriguing look-Terrence Sanders clearly wants to know the stories behind the faces.”-Nicole Morgenthau, Photographer, New York City.

Beautiful Ugly

“Terrence Sanders has a wonderful way of capturing true human emotion in his work. His use of mixed media adds depth and meaning to photographs already full to the brim with the power of his message. The artist clearly has a passion for displaying the harsh reality of American life, and he manages to make this reality beautiful, thought provoking, and impossible to ignore. -Julia Henderson, Art Editor, Fringe Magazine. 

Rewards Change

‘In contrast to Terrence Sanders paintings which are filled with political and racial rage, I found the “Dead Lost or Displaced” series to be extremely poetic and personal on a level which revealed an inner beauty and compassion of the artist which made the viewer aware of the deep trauma and inner feelings of his subjects. A true accomplishment.” -Ronald Sosinski, Director of Proposition Gallery, New York City

Dream Awake

For more information about Dead Lost or Displaced, visit: (www.terrencesanders.com)

Jim Sohr '40 Year Retrospective'

Jim Sohr

The Saratoga Collection

Curated by Terrence Sanders-Smith

"Like many things in New Orleans, the post-Katrina cultural landscape has had many ruptures and unexpected developments. Among the most significant is the emergence of galleries, artist co-ops and alternative spaces in the Bywater neighborhood along the axis of St. Claude Avenue. These spaces, while often administered by and exhibiting established artists, have nevertheless offered an unprecedented opportunity for emerging artists, a new sense of community, and a climate for critical discussion. This exhibition, while not systematic or all-inclusive in intent or context, offers a snapshot of the evolution and effervescent nature of contemporary art in post-Katrina New Orleans. The Saratoga Collection is the result of a partnership between artist/publisher Terrence Sanders and architect/developer Marcel Wisznia, and is the centerpiece for the renovation of a downtown apartment building by the same name. In assembling this collection, Terrence Sanders saw this opportunity “as a way of documenting the burgeoning art scene in New Orleans’ St. Claude and Bywater arts districts.” But more importantly, this collection of over 40 artists describes a specific area of the city and celebrates artists who made the conscious decision to live and work in post-Katrina New Orleans at a time when many things were uncertain." - David Houston Former Director of the Ogden Museum of Southern Art, former Director of Curatorial at Crystal Bridges Museum of American Art.

Alex Podesta

The Saratoga Collection Artists

Katrina Andry-Libbie Allen-James T Bonds-Blaine Capone-Anthony Carriere-Stephen Collier-Bruce Davenport Jr-Michael Dingler-Hannah Downey-Keith Duncan-Brad Dupuy-Robin Durand-Aubrey Edwards-Hayley Gaberlavage-Dave Greber-Grissel Guilliano-Nick Hasslock-Olivia Hill-Barbie L’Hoste-Kevin Jones-Chris Jahncke-Bruce Keyes-Stephen Kwok-Miranda Lake-Srdjan Loncar-Colin Meneghini-Layla Messkoub-Tony Nozero-Alex Podesta-Rajko Radonovic-Rebecca Rebouche-Aaron Reichert-Terrence Sanders-Jim Sohr-Generic Art Solutions-Jameson Stokes-Robert Tannen-Jonathan Traviesa-Dan Tague-Paige Valente & Miriam Waterman

Keith Duncan