American - Photographer | 1977 -
The way that light hits objects, I think, is one of the more important things that sculpture and photography share.
Rashid Johnson
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My father owned a small company, called Gundel Electronics, where he did community band radio and some repair stuff.
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When I was young, I remember feeling a real thirst for opportunities around the arts, for learning about how artists function and how institutions work.
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I was born in Evanston, about three blocks away from the Chicago border. My mother, at the time, was finishing her Ph.D. in African History at Northwestern University. Soon after my birth, my parents split, and my father moved to Wicker Park, which is on the north side of the city.
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My father had a big brick cell phone, before anyone had a cell phone, because he was really just into that kind of thing - communication devices. I grew up between my father's laboratory and my mother's library.
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My mother introduced me to more academic-minded writers, Cornel West and Skip Gates. In her library, I came across, when I was very young, Harold Cruse's 'The Crisis of the Negro Intellectual,' which is like a bible of Negro intellectuals from Frederick Douglass to Amiri Baraka.
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I've been interested in LeRoi Jones/Amiri Baraka's work for quite a while. My first introduction to LeRoi Jones was when my mother used to read me the 'Dead Lecturer' poems when I was a kid.
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Dealing with actors is incredibly complex because they oftentimes are like pieces of clay. They want to be told how you want it done. You have to then decide if you want to be the teller or if you want to give them agency.
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I was going through a divorce, and I had a lot of reading I was doing, and I developed what was probably a serious anxiety problem - because I was about as poor as you can get, in graduate school, and trying to make my work and keep my head above water.
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I started rereading 'The Dutchman' - I kind of just pulled it off the shelf.
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What I really hoped to do with my work was to at least be able to define my relationship to race.
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My composition often goes toward the black middle class or the black super-wealthy or strong historical black figures.
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