Giuseppe Vermiglio, Saint Francis in Prayer, c. 1630
Maria Agata Szymanowska (1789-1831, Poland)
Nocturne in Bb
Piano: Sławomir P. Dobrzański
Respect your elders, one day you’ll be one.
Written by Shanaz Dorsett
Produced by EOM
I pledge myself to work for justice, full justice, restorative justice.
Much of Polaroid film’s latter-day appeal lies in the retro look of its images. However, there’s one vignette in the Polaroid back-story that most contemporary fans might prefer to forget. In 1970, Caroline Hunter, a young black chemist working at the film company’s lab in Cambridge, Massachusetts, chanced upon some South African identity documents, which appeared to suggest her employer was helping to assist in the administration of racial segregation.
Hunter went onto found the Polaroid Workers Revolutionary Movement, and campaigned against the firm’s involvement in the production of South African pass books, or racially specific identity documents, which black citizens were required to carry when traveling outside of designated areas.
In Adam Broomberg and Oliver Chanarin’s latest exhibition for the Goodman Gallery in Johannesburg, they employ the little-known Polaroid ID-2 camera, once used by SA’s authorities to produce pass-book (dompas) portraits.
According to South African born Broomberg, the ID-2 has a flash-boost facility, enabling photographers to take detailed, reliable photographs of black faces - something that proved notoriously difficult with Western film stock, which was developed largely for a white audience.
"Black skin absorbs 42% more light. The button boosts the flash exactly 42%," Broomberg explained to The Guardian newspaper. "It makes me believe it was designed for this purpose."
"O mio babbino caro. Mi piace è bello, bello. Vo’andare in Porta Rossa a comperar l’anello! Sì, sì, ci voglio andare! E se l’amassi indarno, andrei sul Ponte Vecchio, ma per buttarmi in Arno! Mi struggo e mi tormento! O Dio, vorrei morir! Babbo, pietà, pietà! Babbo, pietà, pietà!"
What a beautiful piece of music.
A rare example of an African-American holding a white toddler in the mid-1800s.