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.
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.
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.
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?
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.
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.
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).
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.”
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.
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.
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.
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.
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.
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.
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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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.
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