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What is called the imagination (from image, magi, magic, magician, etc.) is a practical vector from the soul. It stores all data, and can be called on to solve all our “problems.” The imagination is the projection of ourselves past our sense of ourselves as “things.” Imagination (image) is all possibility, because from the image, the initial circumscribed energy, any use (idea) is possible. And so begins that image’s use in the world. Possibility is what moves us.
—Amiri Baraka, “The Revolutionary Theatre”, Liberator, July 1965
Shelley Rice
Critic and historian Shelley Rice has lectured on photography and multi-media art in the USA, Europe, South America, Asia, Australia and Africa. She is the author of Parisian Views (MIT Press, 1997; shortlisted for the Kraszna-Krausz Award, 1999); Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman (MIT Press, 1999), Xing Danwen (Prestel: 2015) and the major essayist of The Book of 101 Books (2001). She is the co-author of numerous catalogues and books, like Landmarks (1984); Paris et le Daguerreotype (1990); Jacques-Henri Lartigue (Paris, 1993); Pictorial Effect/Naturalistic Vision (1994); The Art of the Everyday (1997); Vik Muniz (Brazil, January 2004); Candida Hofer: In Portugal (Steidl, 2007); American Photography (Akademie Verlag, 2012); Marc Ferrez: Rio (2015) and Hank Willis Thomas’ Unbranded: A Century of White Women (Jack Shainman Gallery, 2015). In 2010 she was named Chevalier in the Order of Arts and Letters by the French Minister of Culture. In 2014 she served as New York University’s Remarque Fellow and in 2015 she was honored with the Tisch School of the Arts’ David Payne-Carter Award for Teaching Excellence.
New York University