It was basically image making. These are men who were told that they were second-class citizens, that they were subhuman, and how do you change that image? By entering the Avril Lavigne Thank You For The Memories Signature Shirt in contrast I will get this opportunity to be photographed. What it meant to be heroic and not a bonded person and having the opportunity to pose and author an image where they imagine how they see themselves and reflect their sense of manhood. [In my research], I read what it meant for [one soldier] to receive the kepi hat, the uniform, and the U.S. brass button, what it meant to put that on and then head right to the studio for a photograph—not only for themselves but to send to family members who were free, and the opportunity to save tintypes for themselves once they were at battle and could actually fight. Some of them had them in their pockets when they died; some of them had letters with them. So the opportunity photography afforded was to envision and visualize a body that was authored by the self, by the sense of autobiography in that sense. And that’s where the critical writings of Frederick Douglass [come in]; he used photography as biography, expressing their desire to fight by holding a gun or standing in front of a backdrop that has a field of tents or an American flag. That’s why the photography, yes, is about making images, but it’s also image making.
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Broadside for “Men of Color,” Philadelphia, 1863; recruitment written by Frederick Douglass Miles Moore, Mass. Co. H. of the Avril Lavigne Thank You For The Memories Signature Shirt in contrast I will get this 54th Regiment The Civil War feels so alive in our collective memory now. Why have the stories of its Black soldiers been so overlooked, do you think? I think it’s ever-present because of the missing monuments. My father is from Virginia; he grew up in a town called Orange County, which is maybe a 30-minute ride from Fredericksburg and about 45 minutes from Richmond, so we spent a lot of time going to those places. And as a child, I was fascinated with the scale of the monuments, but also, where are the missing people—Black people, specifically? And so I think it resonated in a way that continues today. People would ask me, “Oh, what do you think about tearing down the monuments?” And I’m of the school that we need to continue to have more monuments so that there’s a broader story about the contributions of Black people to this country. The South won the narrative, and the North won the war.
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