The images in Manifest reflect the unique and overlapping histories of slavery, abolitionism, and spiritualism. These intimate yet monumental images spatially blur the objects, defying easy read or interpretation, veiling and unveiling the residues of slavery and segregation.
In Manifest, Wendel White makes historical objects intimate and singular. These objects-an oxidized spoon, an open diary, a slave bill of sale, and perhaps above all, a lock of Frederick Douglass's hair-are all embodied, had once touched flesh, been manipulated by human hands, had lived in the world before they were packed up into the archive.
Wendel White, Distinguished Professor of Art at The Richard Stockton College of New Jersey, has exhibited and published widely. Among other honors, he is the recipient of a Guggenheim Fellowship, an En Foco New Works Photography Fellowship, two fellowships from the New Jersey Council on the Arts, and a grant from the Graham Foundation for Advanced Studies in the Fine Arts.
Includes an essay by Leigh Raiford, associate professor in African American Studies; University of California, Berkeley.