Preston Gannaway, Untitled (tent family), 2013; archival pigment print, 20 by 30 inches. Image courtesy The Do Good Fund..
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Installation view of Tender is Our Skin at the Alabama Contemporary Arts Center. Image courtesy Alabama Contemporary.
Bill Yates, Untitled, 1973; gelatin silver print, 14 by 14 inches. Image courtesy The Do Good Fund.
Tender is Our Skin is an exhibition of photographs, films, videos, and voices by artists whose work explores the intimate moments of coming of age. The selection of works focuses on individual narratives and contemplates how stereotypes are shaped in our society. Through the artist lens and voices the exhibition challenges how society defines concept of identity and kinship at the threshold of youth and adulthood. The exhibition questions how traditional rites of passage have changed over time influenced by social climate, history, and environmental changes.
The exhibition features photographs from the collection of the Do Good Fund and selected works by artists whose work is in the collection.
Titus Brooks Heagins, Marco & Irma at La Vaquita, n.d.; archival pigment print, 13 by 19 inches. Image courtesy The Do Good Fund.
Celestia Morgan, My Court, n.d.; archival pigment print, 11 1/2 by 17 inches. Image courtesy The Do Good Fund.
Peyton Fulford, Rian With Friends, 2017; archival pigment print, 23 1/4 by 19 inches. Image courtesy The Do Good Fund.
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Stacy Kranitz, Untitled (Louisiana), 2017; archival pigment print, 16 1/4 by 24 1/4 inches. Image courtesy The Do Good Fund.
Baldwin Lee, Baby on Wall, Rosedale, MS, 1986; silver gelatin print, 15 by 19 inches. Image courtesy The Do Good Fund.
Peyton Fulford, Tia, 2017; archival pigment print, 23 1/4 by 19 inches. Image courtesy The Do Good Fund.
Colony Little interviews Steven Cozart and Roymieco Carter about The Chop Shop, a collective of Black and Brown male artists who joined forces virtually in 2020 to share their work and engage in meaningful conversations.
For September's Mood Ring, Amaryllis Ara creates a sculptural interactive installation merging a graveyard and playground scene, pulling from memories of playing in the family cemetery at their childhood home in Manchester, Jamaica.
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