Documenting a period of five years, Jaret Belliveau’s Dominion Street presents a visual narrative of his mother’s cancer alongside other incidents within the family frame. Speaking to questions of sickness, love and loss, Belliveau offers the viewer strikingly informal glimpses of his family as he himself would have seen them — in a hospital room, in an alleyway, in his father’s bedroom and so forth. When these photographs are hung in an exhibition space, we are seemingly invited by Belliveau’s autobiographic lens to experience his family’s suffering and to grieve alongside them.
Continue Reading...Photography is often considered an accurate record and representation of reality, with the truths that the camera produces seemingly forever affixed to the subjects that exist beyond its lens. Curator Okwui Enwezor has often written about the conflicted relationship that the continent of Africa and members of the African diaspora have had with photography, noting that Africa has been presented as a “wasteland of the bizarre and the insane,” a site outside of time or a site of unending struggle and upheaval.
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