Ben Luke
speaker
1,919 appearances
8 recordings
1 series
first heard Apr 2026
last heard 1 Sep
Ben Luke’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 8 in all, peaking in Aug 2026 with 3.
Appearances
Alongside them is a portrait of an older person.
Of the age that the victims would have been had they survived.
By creating this pairing, Daward embodied the passage of time, commemorating a traumatic event, yet unavoidably addressing the ongoing scourge of racist violence.
Between 2014 and 2017, Daward made Harlem Redux, in which he returned to the neighbourhood and attempted to depict its much-altered landscape, both in terms of its social and community activities and
The built environment.
Where Harlem USA was principally an exercise in portraiture, Harlem Redux was more concerned with a cityscape, and Doward described it as a varied group of pictures that work together to form a larger narrative about absence, memory, change, and loss.
Different kinds of loss and memory are fundamental to the multiple series he's made since then, with Night Coming Tenderly Black, 2017, in This Here Place from 2019.
And Stony the Road from 2023, Dowart revisited the concept that he developed for the Birmingham Project: how to reimagine the past and make it resonant today.
These three series and the films that accompany them, like Evergreen from 2021 and 350,000 from 2023, engage directly with the history of slavery and the specific spaces in, through, and from which enslaved people travelled.
Worked, lived, and escaped.
Presented on a vast scale, and in the case of the photographs in black and white, these works were made on the Richmond Slave Trail, along which 350,000 enslaved Africans walked on a former plantation outside New Orleans and in sites that were known to be part of the Underground Railroad in Ohio as fugitive enslaved people fled to freedom.
The three series actively attempt to prompt discussion.
About how this dark chapter of US history continues, in Doward's words, to bleed into our contemporary world in ways that have profound implications.
When we met online in the weeks after he opened an exhibition at the Art Gallery of Ontario in Toronto, I began our conversation asking not about photography, but about the artistic discipline that was his first love: music.
Doward was initially a drummer in jazz bands and learned.
Concerned with some of the greats in the free jazz scene in 1960s New York.
He said that the grounding he had in improvisation has carried through into his decision making as a visual artist.
So I asked Darwood if he could tell us more about what he's brought from music into his art making.
I'm interested in that idea of intentionality because photography obviously is very fraught with conditions, isn't it?
In sense that there are certain ethical considerations in relation to documentation and documentary impulses and so on.
Showing 561–580 of 1,919 · page 29 of 96
← Previous
Next →