Wikipedia

Allan deSouza

This article is about the artist. For the politician, see Alan DeSousa.

Allan deSouza (born 1958) is a transmedia artist, photographer, art writer, and professor.[1] Their work deals with issues of migration, overlapping histories, and the poetics of relocation. They work in the San Francisco Bay Area, and are Full Professor in the Department of Art Practice at the University of California, Berkeley.

Allan deSouza
Born1958 (age 65–66)
Nairobi, Kenya
EducationGoldsmiths College
Alma materBath Academy of Art,
University of California, Los Angeles
EmployerUniversity of California, Berkeley
SpouseYong Soon Min
Websiteallandesouza.com

Early life and education

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DeSouza was born in Nairobi, Kenya,[2] to South Asian parents originally from Goa, India.[3] Their mother was born in Kenya and their father had left Goa while it was still a Portuguese colony.[3] Soon after Kenyan independence, deSouza aged 7, emigrated in 1965 with their family to London, England.[3]

They were educated in both the UK and the United States.[4] deSouza attended Goldsmiths College in London, and earned a Bachelor of Fine Arts from Bath Academy of Art in 1983.[5] They moved to the United States in 1992, participating in the Whitney Independent Study Program in New York and earning an MFA in photography from the University of California, Los Angeles (UCLA) in 1997.[6]

Career

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As artist, activist, educator, writer, and curator, deSouza was an active participant in Britain’s Black Arts movement during the 1980s, and were part of artist collectives Community Copyart, and Panchayat Arts and Education Resource Unit. Moving to New York in the early 90s, they joined and were active within Godzilla, Asian American Artists network. deSouza has had numerous solo exhibitions, including at the Johnson Museum, Ithaca; the University of Seville; University of Delaware, Newark; Krannert Art Museum, Champaign;[7] Yerba Buena Center for the Arts, SF; the Phillips Collection, DC; Fowler Museum, Los Angeles;[8] and the Rencontres Africaines de la Photographie, Bamako, Mali. Group exhibitions include at Tate Britain, London; National Museum of Modern and Contemporary Art, Seoul; Asia Society, NY; Blaffer Art Museum, Houston

[9] National Museum of African Art, DC; Centre Georges Pompidou, Paris;[10] Museo Tamayo, Mexico City;[11] Johannesburg Art Gallery; Mori Art Museum, Tokyo;[12] Gulbenkian Museum, Lisbon; Moderna Museet, Stockholm; Stedelijk Museum, Amsterdam[16]; and Talwar Gallery, which represents the artist, in New York and New Delhi.

deSouza collaborated with Yong Soon Min between 1991 and 2008, producing joint multi-media installations, performances, photographs, and texts. Drawing upon their overlapping histories of migration, they have exhibited together in numerous group shows, with solo shows at OBORO Gallery, Montreal, Canada; Camerawork, London, England; and with major installations at the Baguio Arts Festival, Philippines (with Luis Francia); 3rd Guangzhou Triennial, China; 7th Gwangju Biennale, South Korea (as MYDADA with Abdelali Dahrouch); and the 1993 Whitney Biennial, New York (part of Shu Lea Chang’s installation).

deSouza has written extensively about pedagogy, and contemporary art, contributing to publications such as X-TRA Contemporary Art Quarterly, Wolgan Art Monthly, College Art Association Art Journal, and Third Text, as well as numerous catalogs and anthologies. deSouza is the author of the books Ark of Martyrs: An Autobiography of V, 2020 (Sming Sming Books, San José);[13] How Art Can Be Thought: A Handbook for Change, 2018 (Duke University Press);[14] Crossing Black Waters, 1992 (co-edited with Shaheen Merali, Working Press London); and The Sikhs in Britain, 1986 (Batsford, London). Ark of Martyrs is a polyphonic, dysphoric replacement of Joseph Conrad’s infamous 1899 novella, Heart of Darkness. How Art Can Be Thought examines art pedagogy and critique, and how some of the most common terms used to discuss art may be adapted to new artistic and social challenges.

deSouza is Professor of Photography in the Department of Art Practice at the University of California, Berkeley, having also served as department Chair for six years. They were previously Associate Professor and Chair of the New Genres department at the San Francisco Art Institute (SFAI) from 2006 until 2012. deSouza has also taught at Bard College; Vermont College of Fine Arts (VCFA); University of Arizona, Tucson; School of the Art Institute, Chicago (SAIC); UC Irvine; and the California Institute of the Arts (CalArts); and has lectured at universities and schools across the globe, including Carnegie Mellon University, Edinburgh University, Royal College of Art, London, Seika University in Kyoto, Japan, University of Seville, UCLA, and Concordia University, Montreal.

deSouza has been awarded a number of artist residencies and fellowships, including the Arts Research Center Poetry and the Senses Fellowship, UC Berkeley, 2023; Mellon Visiting Senior Fellowship, The Center for Advanced Study in the Visual Arts, National Gallery, Washington DC, 2022; Humanities Research Fellowship, UC Berkeley, 2019; Yaddo Artist Residency, 2019; Rockefeller Foundation Arts and Literary Arts Residency at the Bellagio Center in Lake Como, Italy, 2012; California Community Foundation/Getty Fellowship, 2008; Art in General residency, NY, 2001; and Light Work residency, Syracuse, 2001.

Artwork

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deSouza engages with issues of migration, displacement, and relocation in much of their artwork.[15][16][17] Their photoworks, texts, and installations examine geography, culture, and personal and collective histories, often sourcing existing archives such as travelogs, novels, and familial photographs.[18][19] Their photographic work, The World Series, for example, was created as a response to Jacob Lawrence’s The Migration Series.[20][21][22][23] deSouza is interested in movement, travel, dislocation, memory, and the passage of time.[24][25]

For the photographic series The Lost Pictures, deSouza placed a number of slides of old family photos around their house, deliberately allowing them to become scratched, faded, and covered in dust.[26][27] deSouza’s work, in the words of one critic, “explores...both memory and photography as means of recording and preserving the past from aging, loss, displacement, and historical change.”[28][29] Although often based on archival sources, historical figures or events, deSouza's work also incorporates "fiction, erasure, re-inscription, and (mis)translation".[1]

Exhibitions

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A list of select exhibitions by deSouza include:

Solo exhibitions

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  • 2022: Talwar Gallery,Flotsam (1926–2018), New York[30]
  • 2022: Herbert F. Johnson Museum Museum of Art, Elegies of Futures Past, Ithaca, NY[31]
  • 2019: University of Seville, Building Paradise, Seville, Spain
  • 2019: University of Delaware, Allan deSouza – The Life of the Captain from The Letters and Journals of Visitaçao da Costa, Delaware
  • 2018: Krannert Art Museum, ‘’Through the Black Country,‘’ Champaign, IL[32]
  • 2018: The Mary and Carter Thacher Gallery, Through the Black Country, San Francisco, CA[33]
  • 2017: Talwar Gallery, Through the Black Country, New York[34]
  • 2015: Talwar Gallery, Notes from Afar, New York[35]
  • 2014: California Museum of Photography, Ark of Martyrs, Riverside, CA
  • 2012: Talwar Gallery, Painting Redux, New Delhi[36]
  • 2012 SFCamerawork, The World Series, San Francisco, CA[20]
  • 2011: Yerba Buena Center for the Arts, Close Quarters and Far Pavilions, San Francisco, CA[37]
  • 2011: The Phillips Collection, The World Series, Washington, DC[38]
  • 2011: Talwar Gallery, Trysts Tropicales, New York
  • 2011: Fowler Museum at UCLA, His Masters' Tools, Los Angeles, CA[39]
  • 2010–2011: The Farthest Point, Krannert Art Museum at the University of Illinois, Urbana-Champaign, Illinois[40]
  • 2008: Talwar Gallery, (i don't care what you say) Those Are Not Tourist Photos, New York
  • 2005: Talwar Gallery, The Lost Pictures, New York[41]
  • 2003: Talwar Gallery, people in white houses, New York[2]
  • 2001: Art in General, Terrain, New York
  • 2001:Talwar Gallery, Allan deSouza, New York[2]

Group exhibitions

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  • 2021: Talwar Gallery, as the wind blows, New York[42]
  • 2019: Pomona College Museum of Art, ‘’Stories: Selections from the Permanent Collection,‘’ Claremont, CA[43]
  • 2018: Dakota Gallery “Navigational Pull: The Art of Migration” A collaboration with Western Washington University students, Bellingham Wa[44]
  • 2013: Smithsonian Institution National Museum of African Art, Earth Matters, Washington, DC[45]
  • 2013: Charles Allis and Villa Terrace Museums, Chasing Horizons, Milwaukee, Wisconsin[46]
  • 2011: Paris Photo, works from the Walther Collection Exhibition, Events of the Self, Paris[47]
  • 2010: The Marianna Kistler Beach Museum of Art, Material Evidence, Manhattan, KS[48]
  • 2010: The Walther Collection, Events of the Self: Portraiture and Social Identity, Neu-Ulm, Germany[49]
  • 2010: Centre Georges Pompidou, Dreamlands, Paris[50]
  • 2008: 3rd Guangzhou Triennial, with Yong Soon Min, China[51]
  • 2007: Mattress Factory, Double Consciousness, Pittsburgh, Pennsylvania[52]
  • 2006: International Center for Photography, SNAP Judgments, New York[53]
  • 2006: REDCat Gallery, An Image Bank for Everyday Revolutionary Life, Los Angeles, California[54]
  • 2005: Talwar Gallery, (desi)re, New York City[55]
  • 2004: Museum Kunstpalast, Africa Remix, Düsseldorf[56]
  • 2004: William Benton Museum of Art, Masala, Storrs, Connecticut[57]
  • 2003: Museum for African Art, Looking Both Ways, New York
  • 1998: New Museum, Urban Encounters, New York[58]
  • 1997: Studio Museum in Harlem, Transforming the Crown, Harlem, New York City[59]
  • 1997: The Queens Museum, Out of India, Queens, New York City[60]
  • 1993: Whitney Museum, Whitney Biennial, Video collaboration with Yong Soon Min, New York[61]

Performances

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References

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  1. ^ a b "Allan deSouza". Allan deSouza. Archived from the original on 2013-10-15. Retrieved 2013-10-12.
  2. ^ a b c Cotter, Holland (2001-12-07). "Art in Review; Allan deSouza". The New York Times. ISSN 0362-4331. Retrieved 2021-09-17.
  3. ^ a b c Seydl, Jon L. (12 September 2021). "Memories at a distance: Allan deSouza". The News-Gazette. Archived from the original on 2021-09-12. Retrieved 2021-09-17.
  4. ^ Sujeet Rajan, “Creating models…”, The Indian Express, November 16, 2001.
  5. ^ "allan-bio « Talwar Gallery". Talwargallery.com. Retrieved 2013-10-12.
  6. ^ Deepak Talwar, (Desi)re, New York: Talwar Gallery, 2005.
  7. ^ "Allan deSouza: Through the Black Country". Krannert Art Museum. Retrieved 2023-07-05.
  8. ^ "His Master's Tools: Recent Work by Allan deSouza". Fowler Museum at UCLA. Retrieved 2023-10-08.
  9. ^ https://blafferartmuseum.org/time-image/
  10. ^ https://en.wikipedia.org/wiki/Centre_Pompidou
  11. ^ http://old.museotamayo.org/exposicion/juicios-instantaneos
  12. ^ https://www.mori.art.museum/english/contents/africa/about/index.html
  13. ^ “https://www.smingsming.com/collections/frontpage/products/allan-desouza-ark-of-martyrs”
  14. ^ “https://www.dukeupress.edu/how-art-can-be-thought”
  15. ^ May Joseph (1999). Nomadic Identities: The Performance of Citizenship. U of Minnesota Press. pp. 146–. ISBN 978-0-8166-2636-6. Retrieved 8 July 2013.
  16. ^ Britany Salsbury, "Critic’s Picks: Allan deSouza", Artforum, August 2011.
  17. ^ Karin Miller-Lewis, "Stripping Illusions," Art India, August 2008.
  18. ^ Lisa Piazza (2007). The Notion of Home and the Diasporic Subject: Memory and Forgetting in Allan deSouza's "The Lost Pictures" Series. pp. 7–. ISBN 978-0-549-32207-8. Retrieved 8 July 2013.
  19. ^ Africa Remix: Contemporary Art of a Continent. Jacana Media. 2007. pp. 192–. ISBN 978-1-77009-363-8. Retrieved 8 July 2013.
  20. ^ a b Julia Glosemeyer, "The World Series", Art Practical, February 2012, accessed July 22, 2013.
  21. ^ Joanna Grabski; Carol Magee (2013). African Art, Interviews, Narratives: Bodies of Knowledge at Work. Indiana University Press. pp. 163–. ISBN 978-0-253-00699-8. Retrieved 8 July 2013.
  22. ^ David Lloyd (2008). Irish Times: Temporalities of Modernity. Field Day Publications. pp. 147–. ISBN 978-0-946755-40-0. Retrieved 8 July 2013.
  23. ^ Holland Cotter, "Allan deSouza", The New York Times, February 29, 2008.
  24. ^ Margo Machida (2009). Unsettled Visions: Contemporary Asian American Artists and the Social Imaginary. Duke University Press. pp. 334–. ISBN 978-0-8223-9174-6. Retrieved 8 July 2013.
  25. ^ Lavina Melwani, "Blurred Tenses", India Today, December 17, 2001.
  26. ^ “Allan DeSouza”, The Village Voice, July 2005.
  27. ^ Ken Johnson, "Allan DeSouza: ‘The Lost Pictures’", The New York Times, July 8, 2005.
  28. ^ “Allan deSouza: The Lost Pictures,” Modern Painters, September 2005.
  29. ^ Janet Staiger; Ann Cvetkovich; Ann Reynolds (2010). Political Emotions. Routledge. pp. 165–. ISBN 978-0-203-84953-8. Retrieved 8 July 2013.
  30. ^ "Flotsam (1926-2018),« Talwar Gallery".
  31. ^ "Al-An deSouza: Elegies of Futures Past, Johnson Museum of Art". Retrieved 2023-06-24.
  32. ^ "Through the Black Country..., Mary and Carter Thacher Gallery, Krannert Art Museum".
  33. ^ "Through the Black Country, or, The Sources of the Thames Around the Great Shires of Lower England and Down the Severn River to the Atlantic Ocean, Mary and Carter Thacher Gallery, University of San Francisco".
  34. ^ "Through the Black Country,« Talwar Gallery".
  35. ^ "Notes from Afar,« Talwar Gallery".
  36. ^ Sonam Joshi, "Paint it black", Time Out Delhi, December 2012, accessed July 22, 2013.
  37. ^ "Allan deSouza: Close Quarters and Far Pavilions," Flavorpill Archived 2013-10-11 at archive.today accessed July 22, 2013.
  38. ^ Britany Salsbury, "Critic's Picks," Art Forum, August 2011.
  39. ^ "Alumnus Allan deSouza reworks famed masterpieces to explore feelings of displacement", Daily Bruin, January 23, 2011, accessed July 22, 2013.
  40. ^ Allyson Purpura, "Allan deSouza: The Farthest Point," Ninth Letter, accessed July 22, 2013.
  41. ^ "The Listings: July 1 – July 7, Allan deSouza: The Lost Pictures". The New York Times. 2005-07-01. ISSN 0362-4331.
  42. ^ "as the wind blows, « Talwar Gallery".
  43. ^ "Stories: Selections from the Permanent Collection, Pomona College Museum of Art". Retrieved 2023-06-24.
  44. ^ "Navigational Pull: The Art of Migration, Dakota Gallery". Retrieved 2023-06-24.
  45. ^ Lonnae O'Neal Parker, "'Earth Matters,' at National Museum of African Art, looks at humanity's ties to planet", The Washington Post, April 21, 2013.
  46. ^ "Chasing Horizons", Express Milwaukee, July 17, 2013.
  47. ^ "Paris Photo 2011 Private Collection", La Journal de la Photographie, August 11, 2011.
  48. ^ "Beach Museum Gathers 'Material Evidence' for Exhibit", November 10, 2010.
  49. ^ "Events of the Self", E-Flux, April 23, 2010.
  50. ^ "Dreamlands at the Pompidou", Aesthetica Magazine Blog, May 21, 2010.
  51. ^ Saskia Draxler, "3rd Guangzhou Triennial" Archived 2015-09-15 at the Wayback Machine, frieze 119, November–December 2008.
  52. ^ Savannah Guz, "We're seeing 'Double Consciousness,' with art of the Indian diaspora, at The Mattress Factory", Pittsburgh City Paper, June 14, 2007.
  53. ^ Holland Cotter, "Colorful and Clashing: Looking at Africa", The New York Times, March 17, 2006.
  54. ^ "An Image Bank for Everyday Revolutionary Life," ARTnews, 2006.
  55. ^ Holland Cotter, "Desi(re)", The New York Times, March 25, 2005.
  56. ^ Roland Kapferer, "Africa Remix" Archived 2014-02-02 at the Wayback Machine, frieze 92, June–August 2005.
  57. ^ Holland Cotter, "Art in Review; 'Masala'", The New York Times, April 9, 2004.
  58. ^ Holland Cotter, "Urban Encounters", The New York Times, August 14, 1998.
  59. ^ Dan Gaba, "Playing in the Neighborhood", The New York Times, October 12, 1997.
  60. ^ Holland Cotter, "Many Shows and Many Indias", The New York Times, December 26, 1997.
  61. ^ Roberta Smith, "At the Whitney, A Biennal with a Social Conscience", The New York Times, March 5, 1993.
  62. ^ "Artist to discuss 'Bodies in Transit'", UNC News, October 12, 2009.
  63. ^ "New Geographies in Contemporary African Art", HNet: Humanities and Social Sciences Online, February 12, 2008.
  64. ^ "Will **** for Peace" Archived 2013-11-04 at the Wayback Machine, Oboro, May 2003.
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