Print Study Room:
Power, Privilege, and Oppression

The World Through the Eyes of Others:
A Visualization of Struggles, Successes, and Resilience

Photography can be used to capture various aspects of the human experience—the good, the bad, and the revolutionary. During spring 2022, students in the social work course “Power, Privilege, and Oppression” curated The World Through the Eyes of Others: A Visualization of Struggles, Successes, and Resilience for their final project combining social work perspectives and art from the Tang collection. Within the class, teams devised individual themes to better convey the meaning of the exhibition, including Behind the Dream, Growing Up in America, Adult Influence on Children During Revolutionary Stances on Change, Power Dynamics, and The Humanity in Resistance.
The way we see the world is limited to our own personal perspectives and experiences. Therefore, we make the conscious effort to see the world through the eyes of others, highlighting stories of liberation, resistance, courage, and morale. It invites visitors to critically reflect on one’s own positionality and identity and consider the lived experiences of individuals throughout history—in hopes of a better future for all.
Anchor name: Behind The Dream

Behind the Dream

A black and white photograph of a large obelisk in the distance behind an expansive crowd waving flags and signs with the most prominent reading “LESBIAN RIGHTS NOW.”
Ken Regan, Gay Rights March, 1993, gelatin silver print, 9 ½ x 14 1/8 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2020.31.211
Phoenix Goldenberg ’25
Ken Regan became a well-known photographer during the 1960s when he was only in his twenties. Born and raised in the Bronx, New York, he used the city to start his career as a teenager. Soon after he started his career, he was already getting published in prestigious papers such as the New York Times Sunday Magazine, the first paper in which his photographs were published.
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This image, however, was not taken in New York City but in Washington, DC, as evidenced by the Washington Monument seen in the background. The photo depicts the March on Washington for Lesbian, Gay, and Bisexual Equal Rights, which exemplifies the fight for LGB liberation. Estimates suggest that there were approximately 300,000 people at this march, though that number is argued by different sources. Some people believe there was anywhere from 500,000 to 1,000,000 people at the march.

There are a lot of differences between what the picture depicts and what people think of the LGBT+ community now. For example, look at how young or old the people look. What do you notice about their ages? How does this compare to the LGBT+ community today? Would Ken Regan’s photograph be similar or different to photos of an LGBT+ march today? Another important detail to look at is the race of the people in the photo. Being LGBT+ is something people of every race and ethnicity experience. How does the photo relate to the “American Dream?” Is everyone free and living the dream?

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A black and white photograph of an old man squinting while crouched down smoking a cigarette in a field of plants with tall leaves.
Bill Owens, Field Workers, Fremont, California, 1974–1976, gelatin silver print, 8 x 10 inches, Tang Teaching Museum collection, gift of M. Robin Krasny, 2019.47.30
Armin Ohadi ’25
This photograph features two field workers in Fremont, California. By manipulating his camera lens, Owens produces an effect that focuses the audience’s attention on the front-most worker. This worker’s expression and posture allude to the poor working conditions in most of California’s agricultural valleys during the 20th century. Farm and field workers were among the most exploited and oppressed workers in the United States. In 1969, just a few years before this photograph was taken, the average salary for a field worker was $1,000. This was about one-tenth of the salary of the average American. Additionally, workers were denied toilet facilities, adequate sanitation, and health care. While some conditions improved because of the formation of unions, such as the United Farm Workers (UFW), many farm owners continued to treat their workers inhumanly.
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While much of Owens’s early work focused on the suburban existence, such as home and family, this photograph and its historical context display his transition to capturing working America in the mid-1970s. This included candid and posed photos of America’s blue-color and white-color workers. Owens’s inspiration for this collection came from his commitment to having his work “say something about the ‘American Dream.’” Therefore, this photograph poses a question to the audience–is this what you imagine when you think of the American Dream?
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A black and white photograph, framed by a windowpane, of a woman’s torso dressed in lingerie and holding paper money in her hands.
Merry Alpern, Dirty Windows #5, 1994, gelatin silver print, 19 7/8 x 15 7/8 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2015.1.281
Kirstie Yuen ’24
Dirty Windows #5 is a black-and-white photograph from Merry Alpern’s beautifully disturbing series Dirty Windows that captures scenes of a low-rent brothel near Wall Street in New York City. For six months, Alpern frequently camped at her viewing point: a friend’s Manhattan apartment where she photographed this daily trade of human desire and everything in between—including drugs, violence, grace, and resilience. By using many full-frame compositions, where a single subject fills the entire frame, Alpern manages to purely focus on the identity of her subject as a “sex worker,” revealing to us the behind-the-scenes of sex work as a profession. Through her utilization of surveillance photography, she captures what it is like to work to simply please and be subjected to the male gaze.
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Merry Alpern brings us into the rarely glimpsed, and deliberately hidden, world of the customs and practices of sex workers. The Dirty Windows series engages discourse on sex work as a profession, the demand and power dynamics within that, and the commodification of female bodies.
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A pregnant woman wearing a metallic bikini laying on a stone table next to a wall of dirty white subway tile.
Nan Goldin, Rebecca at the Russian Baths, New York City 1985 (from The Ballad of Sexual Dependency), 1985, Cibachrome print, 16 ¼ x 20 ¼ inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2018.39.1.29
Gabriella DiDomenico ’25
Rebecca at the Russian Baths is from Nan Goldin’s 1985 series The Ballad of Sexual Dependency featuring a pregnant woman as she lays on a hard, rusting counter wearing a bathing suit. In this project, Goldin incorporated what she encountered living in New York during the 1970s and 1980s and focuses on themes that center on beauty, suffering, and crime. Goldin’s work is meant for a reaction of empathy and highlights lyricism. Other series images include drag queens, individuals, and their lovers, and how the AIDS epidemic affected Goldin’s community. Notice the facial expression on this model, and think about they ended up in this spot, maybe what their story is. Does this work lead the audience to question what narrative is behind this photograph?
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Along with Goldin’s activism with the AIDS epidemic by spreading awareness through her series, she has also founded the organization P.A.I.N (Prescription Addiction Intervention Now) in hopes to reach the goal of holding the Sackler family accountable for manufacturing and distributing the drug Oxycotin, which began the opioid crisis. Today, opioids kill more than 136 Americans each day. Goldin founded this organization as a result of her own addiction to Oxycotin and asks corporations who fund the family to instead fund harm reduction, rehabilitation, and public education projects.
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Anchor name: Growing Up

Growing Up in America

A black and white photograph of a group of people sitting on bleachers, two people seated in the center wear foam statue of liberty crowns.
Erika Stone, Liberty Day, Fourth of July, New York City, 1987, gelatin silver print, 6 ½ x 9 5/8 inches, Tang Teaching Museum collection, gift of M. Robin Krasny in honor of Ilya Gronuist Sukman, 2020.28.31
Jack Egan ’24
In Liberty Day, Fourth of July, New York City, German-born artist Erika Stone captures people with varied backgrounds attending the New York City and New Jersey-wide celebration of freedom called Liberty Weekend. Her photograph shows those in Giants Stadium, New Jersey, for the closing ceremony, which was a four-day long event held on July 3–6, 1986, across both neighboring states. This event celebrated the restoration of France’s famous gift to the United States, the Statue of Liberty. This renowned 151-foot sculpture of the Roman goddess Libertas serves as a monument to the American ideal of “freedom and liberty for all.” July 4, 1986, also marked the two hundredth anniversary of the United States’ independence from Great Britain. Notably, the then-current US and French presidents Ronald Reagan and François Mitterrand, respectively, were in attendance for this memorable affair.
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What exactly the twelve people depicted in the piece are looking at is not shown, nor do their sightlines land on the same focus. This general ambiguity invites the viewer to imbue the work with their own meaning and perspective. Furthermore, their expressions don’t seem congruent with what one would expect for a celebration of freedom in America. How do you think those in the image are feeling and thinking? How does America’s sociopolitical climate of the 1986s impact your perception of the piece? How might being raised in the United States impact someone’s perception of this photograph? Would all Americans perceive it similarly?
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A black and white photograph of a seated man in military uniform and gloves cradling and looking down happily at a missile.
Artist, title, date unrecorded, gelatin silver print, 3 ¾ x 2 7/8 inches, Tang Teaching Museum collection, gift of Peter J. Cohen, 2021.6.146
Anna Eiler ’25
The mystery of this small image leaves its meaning and context up to its viewers. One can only wonder: Who is this man? The photograph was plausibly taken during World War I, due to the style of uniform he wears, as well as the background artillery and helmet model, although this is speculation. The image captures a uniformed soldier cradling an artillery shell, grinning down at the weapon. The shell looks to be treated as a small child, with a careful grip and loving attention. He stomps his foot down on an identical shell, perhaps demonstrating his power and control over the weapon. Although the staged nature of this photograph may imply that this image was taken in good fun, might there be an underlying meaning? A greater societal issue? A view of what the US military might represent?
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Stephen Shames, Free Breakfast Program. Panther Jerry Dunigan, known as “Odinka,” talks to kids while they eat breakfast on Chicago’s south side. Chicago, Illinois, November 1970, printed 2006, gelatin silver print, 16 x 20 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2020.19.15
Katie Tarvin DeFusto ’25
The core mission of photojournalist Stephen Shames is to raise public awareness of social issues, especially social issues pertaining to child poverty and race. His striking photo essays are created for “foundations, advocacy organizations, the media, and museums. Shames has been praised by the New York Times for following in the footsteps of esteemed “muckraker” photojournalists like Jacob Riis and Lewis Hine. One of Shames’s main areas of interest is the Black Panther Party, a political party that came into being in the late 1960s. The Panthers’ goal was to liberate Black Americans using violence and self-defense.
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As a college student, Shames attended a Panther rally in 1967 and started snapping photos. After seeing the images Shames had captured, the Panthers made him their official photographer—a role that he would have for the next seven years. Shames’ job was not only to photograph rallies, protests, and campaigns but also to capture the more intimate moments of humanity within the party. Due to their use of violence to bring about change, the portrayal of the Black Panthers has often been skewed in the media. However, the true goal of the Panthers was not to harm others as the media portrayed, but to instead uplift the Black community and show them that they are worthy of and capable of achieving true Black liberation. As exhibited in Shames’s photo, the Panthers often provided services to the community, determined to serve others, especially Black youth. They gave away clothes and food and hosted free meal sites. This photo conjures themes of empowerment and resilience of human beings, and how they can be taught to children. How does looking at this photo make you feel? What emotions come up? Consider the complex intersections of identities (e.g., race, class, gender, sexual orientation). Are these complexities visible in this photo?
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A black and white photograph of a boy looking down onto and pressing a girl into a couch as she looks at the camera.
Donna Ferrato, Ernie + Brianna, When Kids Witness Violence, Vermont, 1996, archival pigment print, 20 x 24 inches, Tang Teaching Museum collection, gift of Susan and AJ Cass, 2020.34.9
Cary Chiarelli ’25
Donna Ferrato is an American photographer who spreads awareness about domestic violence through her photography. Ferrato began her study on abuse within the home in 1982 when she was hired by Japanese Playboy to explore the lives of a polyamorous couple when she witnessed a husband beating his wife. Ferrato went on to explore the subject by visiting women’s shelters, emergency rooms, and prisons. With her work, Ferrato raises money for women’s shelters and spreads awareness about domestic violence and the affects through her non-profit foundation, Domestic Abuse Awareness Project (DAAP).
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This photograph depicts Ernie, age seven, and his little sister, Brianna, fighting on the couch in their Vermont home. These children grew up with an abusive father who hit them and slapped, raped, and choked their mother. Even after their father was arrested for attempting to murder their mother, Ernie did not let the violence stop. National statistics show that 1 in 4 women will experience physical violence by an intimate partner in their lifetime. Over 15 million children in the United States witness this kind of violence each year. What does this data suggest about the meaning of the photograph? What actually happens “when kids witness violence”?
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Anchor name: Adult Influence

Adult Influence on Children During Revolutionary Stances on Change

A black and white photograph taken through a gridded security window of a small child in profile working with string in his hand.
Erika Stone, Child-helper in Chinese Laundry, New York City, 1960, gelatin silver print, 12 ¾ x 9 ½ inches, Tang Teaching Museum collection, gift of M. Robin Krasny in honor of Ilya Gronuist Sukman, 2020.28.30
Kayla Piper ’24
Erika Stone is an American photographer who focuses her work on documenting people, specifically children and families, in black-and-white photographs. Many of her photographs highlight the poor regions of New York such as Harlem and the Lower East Side. Stone grew up in fascist Germany and lived a very poor lifestyle. This past served as an inspiration for her photographs as she was drawn to document the poor lifestyle on the streets of New York. With her work, Stone hopes to document the unconventional individuals and tell their stories in her photographs. She shares that she “tried to photograph nature but it is nothing good … I am not interested in nature as I am interested in humans and their stories.”
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This photograph is of a young Chinese boy working in a laundromat in New York City. During this time, it was common for the children of Chinese immigrants to grow up working alongside their parents at laundromats. As children would work and grow up in these settings, laundromats would often become home. Stone highlights the life of one of these child workers as she photographs a young boy hard at work. Stone’s photograph of this scene encourages the viewer to consider the positionality of the child and how their youth and innocence is contrasted against the reality of the situation—the reality of how this child is disadvantaged and marginalized within society and must work in one of the lowest jobs in society to make a living. How might this child’s intersecting identities of race and class have impacted his current situation? What other factors may have contributed to the situation of this child?
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A black and white photograph of children in a lot scattered with debris situated among tall brick buildings. Two of the children’s faces are visible while other’s legs are immerging from a broken chair.
Erika Stone, Children in Abandoned Lot, East Harlem, 1965, gelatin silver print, 13 3/8 x 9 5/8 inches, Tang Teaching Museum collection, gift of M. Robin Krasny in honor of Ilya Gronuist Sukman, 2020.28.29
Ella Lage ’24
A pivotal female photographer during the twentieth century, Erika Stone rose to fame for her renowned ability to document everyday life through her photographs. As the title of the piece describes, this photograph depicts children playing in an empty lot in East Harlem, New York. Much of Stone’s work focuses on portraying people’s lives and stories. After the birth of her two sons, Stone took particular interest in photographing children and families. Stone’s work centers on peoples’ struggles and asks the viewer to consider the story behind the camera.
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This image shows children unattended; one child sits on a frayed couch surrounded by rubble and debris, the other smiles brightly. The black and white photograph creates a somber tone that matches the emptiness of the setting, while contrasting the expression on the child’s face, encouraging the viewer to wonder more about their story. Why are they here, and why are they alone? What in their upbringing has led them here? What does this portray about the correlation between American parenting habits and social status? While their personal lives are a mystery, Erika Stone manages to tell a story through a mere second captured on camera.
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A black and white photograph looking down onto a man laying in bed smoking a cigarette with a baby laying on top of his torso who is looking directly up at the camera.
Larry Clark, Billy with Baby (from Tulsa), 1963, gelatin silver print, 14 x 11 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2018.38.168
Stella Lane ’25

This work features a male figure, Billy, cradling a baby. Larry Clark photographed this scene to convey “adolescent violence, sexuality, and drug use” after he watched a film of children coming of age in New York City engaging in drug use and early sexual behaviors.

Notice the juxtaposition of Billy’s hands embracing a baby while the other clings onto a cigarette. This image leads the audience to wonder, is this male figure Billy, the baby’s caretaker? What does the baby’s home life consist of, is there a mother? The blacks and whites are contrasting colors that emphasize the pure white eyes of the baby staring dazed at the camera. Might this relate to Americans’ notions of parenting and their impact on a child’s struggles, successes, and resiliency?

A black and white photograph of a group of six children pressing sticks onto a boy lying face down on a dirt ground while another boy raises a large stick above his head towards the boy on the ground.
Vivian Cherry, title unknown, 1940s–50s, gelatin silver print, 14 x 11 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2020.31.100
Sofia D'Abate ’23
Vivian Cherry has been coined “the socially aware photographer” by the New York Times. Cherry’s curiosity of New York City’s ordinary people manifested in her collection, Helluva Town. She documented children specifically in their every-day settings as she wandered the city through the 1940s and ‘50s.
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Cherry’s intention was to document without interrupting real-life scenes. She valued the emotion each scene encapsulated and the questions it brought to real-life experiences. This black-and-white photo, and others of its collection, hold so much emotion, yet tell so little. Where are these children’s parents, and why are the children in a rubble-ridden lot? Is there true violence being acted upon here? Who taught these young children to act with intent to harm others, even their own peer? Will these children lead lives of violence in the future? All these questions are left for you, the viewer to answer, with only Cherry’s photos to use as clues.
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Anchor name: Power Dynamics

Power Dynamics

A black and white photograph of a young boy and girl standing in the street holding hands and wearing dirty clothing. The girl’s hand is suspended in front of her body at shoulder height.
August Sander, Children Born Blind, 1930, printed 1990, gelatin silver print, 10 x 7 ¼ inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2015.1.265
Daniella Nacht ’24
August Sander is one of the most important German photographers of the twentieth century. Sander is most famous for his portraits, but also has work depicting landscape, nature, architecture, and street photography. Some of his most pivotal photographs were taken during the Nazi regime. This greatly restricted the limits of his work: one of his photography studios was destroyed during the 1944 bombing raid and many of his in-progress work was ravaged in a 1946 fire. The Nazi regime also confiscated much of his work, and the release of many of his photographs did not see the light of day until after World War II. Sander’s main objective was to take photographs of people as they actually were, and that scared the Nazi regime, who viewed Sander’s work as a threat. Children Born Blind was taken in Germany at a home for the blind, depicting two children holding hands. Rather than naming the children or the institution, Sander relies on the viewer to see these children for their own humanity, and as part of different societal groups. Sander urges the viewer to understand their original judgements and perceptions about these groups and the power dynamics within.
A black and white photograph of five people seated on a bench next to a sun filled window facing a smiling woman.
Matt Herron, Freedom School, 1965, 1965, printed later, gelatin silver print, 9 ½ x 14 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2020.19.13
Anyeliza Gonzalez ’25
Matt Herron was a magazine photojournalist who led a seminal photography project called the Southern Documentary Project to capture moments of the Freedom Summer Project in Mississippi: a campaign launched in June 1964 by more than 1,000 college students to teach and register Black voters who were restricted from voting due to barriers to voter registration and other legal sanctions. Their goal was to register as many Black voters as possible to help them gain power and amplify their voices to fight White supremist efforts to suppress the Black vote in the Jim Crow south.
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This image portrays Edie Black, a White college student, who volunteered to teach at the Freedom School in a community of independent Black farmers in Mileston, Mississippi. Black is shown facing a class of 5 students in a corner of an aging church as she teaches them. Although Black was trying to help achieve empowerment and the idea of inclusivity—the image of a White person teaching a class full of Black students is representative of the White gaze: a phrase coined by Toni Morrison, that states “Black lives have no meaning and no depth without the white gaze.” The focus on White-centered norms and standards remains ever present today, reflecting the ongoing social divide between Black and White people. Thus, the Freedom Summer Project was not enough to alter the historical and contemporary impacts of slavery, White supremacy, and systemic racism that Black people in the United States continue to face every day. Theoretically, while everyone has the right to vote, racial oppression and voter suppression lives on. To create a society that is built on equity; understanding how the White gaze plays out and is reinforced, is essential.
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A black and white photograph of a muscular man flexing his arms while standing atop the middle of a three-tiered podium between two women in bathing suits smiling up at him.
Artist, title, date unrecorded, gelatin silver print, 8 x 10 inches, Peter J. Cohen, 2018.12.200
Cheimi Reyes ’24
The piece that I will be discussing is untitled and obscure. It was shot by an unrecorded photographer, leaving us with a critical absence of comprehension of setting, foundation, and verifiable histories. Regardless, we can accumulate significant data from the actual picture. The image at hand revolves around the notion of power imbalance and dynamics. The image showcases a winner’s trio leveled podium with a Black man in the middle exhibiting his muscles and dominance. While two Black women, both lower in platform rank, are under him and are looking up to his dominant being.
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This image reflects not only Black masculinity but, most importantly, misogynoir. As the voices of Black women are often muted, smothered, and quieted, this picture propagates this thought of property, accessorization, and hyper-sexualization. Although these two beautiful Black women are given space inside this picture, they conversely act as props and models for the actual individual under the spotlight. This idea of a woman’s femininity tied to a man’s power is aggressively depicted in the photograph. The women are seen ravishing for men’s attention, and it is showcased with their positioning and the photographic angle.
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A man in a baseball uniform holds a bat and loos at the camera while leaning against a white concrete wall.
Walter Iooss, Ken Griffey Jr., Boston, MA, 9/96, 1996, archival pigment print, 24 x 20 inches, Tang Teaching Museum collection, gift of Bradley Rubin, 2020.42.6
Gillian Garvey ’23
Walter Iooss Jr. is one of the most influential sports photographers due to his documentation of athletes, their fame, and modern sports culture. Iooss began photographing professional football games when his father gave him a camera at age 15. At age 17, Iooss received his first assignment for Sports Illustrated. Over the course of more than 50 years, his photographs have appeared on over 300 Sports Illustrated covers—more than any other photographer.
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This photograph of former professional baseball outfielder, Ken Griffey Jr., was taken in 1996 while he was playing with the Seattle Mariners. Griffey was also inducted into the Mariners’ Hall of Fame, the Reds Hall of Fame, and the Baseball Hall of Fame. In the photo, Griffey looks ready to play and his expression almost seems like he’s staring down the pitcher, giving a slight nod followed by a cocky invitation to “pitch the ball, watch what happens.” He’s exuding manliness, masculinity, and power.

Baseball has a history of racism and now, Black players in baseball, such as Griffey, make up less than 10 percent of the sport today. As a retired player, Griffey is finding ways to stay involved in baseball and use his influence to impact the future of baseball. In 2021, it was announced that Griffey was hired by the MLB as a consultant to help recreate a system for Black players. His goal is to try to lessen the struggle for rising and current Black players and to work on many different topics, especially youth baseball development and promoting diversity at the lower levels of the game. Increasing the number of Black baseball players leads to Black empowerment and can lead to former players moving into leadership positions within the business of baseball.

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Anchor name: Humanity

The Humanity in Resistance

A black and white photograph of a woman wearing sunglasses holding a handwritten sign that reads “TO HELL WITH THE NAACP” with a large building and other sings and people in the background.
Bob Scott, title unknown, 1975, gelatin silver print, 8 x 10 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2018.38.492
Lily Ross ’24
While not much is known about Bob Scott or his reasoning for taking this photograph, this image captures a crucial social justice issue that played out among many American cities in the mid-1970s. Local lawmakers advocated for Black and Indigenous students and students of color in cities to be bussed to suburban schools and vice versa to decrease school segregation. While decreasing school segregation itself is a legitimate action, bussing specifically was protested by all for its poor solution to modern segregation and systemic racism in the United States. However, the protesters captured here are aiming to stop busing to perpetuate school segregation and systemic racism. This policy ultimately passed and has had lasting negative effects on schools across the country including harsher political divides and wasted school funding. Together, these factors resulted in reducing any potential effectiveness of mandatory busing on segregation.
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The protest in this photo takes place outside of the Theodore Levin US Courthouse in Detroit, Michigan, a city with large populations of Black, Indigenous, and people of color which were highly segregated from the white populations in the city. This work encourages viewers to think critically about structural racism and segregation to examine how covert laws and social norms continue to perpetuate racism. Additionally, viewers are empowered to reflect on their own areas of privilege and marginalization to improve the lives of others.
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A black and white photograph of two women staring directly at the camera in matching uniforms seated in a cafeteria-like setting.
Danny Lyon, Two inmates, Goree Unit, 1968, printed 2014, gelatin silver print, 11 x 14 inches, Tang Teaching Museum collection, gift of M. Robin Krasny, 2017.39.37
Zach Lepak ’24
Danny Lyon is a self-taught photographer who chose to work within the prison systems of America in order to document the emotions and conditions of inmates within the United States. This photograph was taken in the cafeteria of Goree Unit, which is a prison in Texas that houses women inmates. In the cafeteria, inmates are not confined by bars, but are able to converse and move around freely among themselves. Lyon was troubled about his ability to come and go freely from the prisons within which he worked. Perhaps this is why he chose to take this photograph of inmates in locations outside of their cells, or where they had more freedom. Lyon’s photograph captures two women in a way that showcases the state of melancholy and sadness as a result of the situation these two women are in. It is important to note Lyon’s work consists mostly of photographs containing inmates of color, possibly reflecting the disproportional incarceration of different ethnic groups within a White-dominated America. This message is brought on strongly when combined with the sadness reflected by the women in this photo. Lyon’s ability to capture genuine emotion within his photographs shines within Two Inmates, and the goal of Lyon’s prison collection as a whole is just that, capturing raw emotion.
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Isaac Scott, June 6th, 2020. Philadelphia Museum of Art, 2020, archival pigment print, 23 x 33 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2020.33.5
Avery Stamps ’24
This photograph was taken on June 6, 2020, in Philadelphia. The image captures a scene in Philadelphia during the hectic summer of 2020 after the police killings of Breonna Taylor and George Floyd led to multitudes of Black Lives Matter protests across the United States. Amidst a global pandemic and outrageous acts of violence towards Black individuals, the people hit the streets. Protesters marched in cities across the United States, including in Philadelphia, for weeks during the summer to unite and take the first steps towards healing a divided nation.
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The image visualizes the struggles Americans faced and the ways in which communities came together to heal, grow, and fight for social justice. The pandemic disproportionately affected minority communities and thus exacerbated the systemic racism present in the United States. Isaac Scott was a college student during the pandemic and witnessed the institutional racism on display in Philadelphia. This photo and several others were originally posted on Instagram to spread awareness and capture the moment in history. However, after being asked by the Tang, he began to print and publicize the photos as iconic pieces that capture the influential summer of 2020.
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Isaac Scott, June 8th, 2020. Juniper St and Filbert St, 2020, archival pigment print, 33 x 23 inches, Tang Teaching Museum collection, The Jack Shear Collection of Photography, 2020.33.4
Maya Litton ’25
Following the murder of George Floyd, Isaac Scott began documenting the Black Lives Matter protests in Philadelphia. Black Lives Matter, a political and social movement, follows the inequality that Black people experience in America. Scott’s goal is to use these images to amplify the movement beyond the streets. By showing the humanity of the people participating in these protests, Scott provides an incredible opportunity to tell an accurate version of history to be seen and heard not only here and now, but also for generations to follow. Scott’s work captures the energy of such a powerful moment and encourages us to think about what emotions his photographs evoke and really take the time to interrogate the meaning of his work.
Pattern by Jonnea Herman ’18
Inspired by the annual February Tang <3 Students Event
The Tang Pattern Project celebrates the Museum’s 20th anniversary. Organized by Head of Design Jean Tschanz-Egger, past and current Tang Design Interns created patterns inspired by the Museum’s exhibition and event history.