.: A Full Life Lived - RIP Grandma

Tuesday, December 08, 2009

A Full Life Lived - RIP Grandma

My Grandmother passed on today after living a long and happy life. While she was ill she passed in her sleep which was appropriate and appreciated. I am sad for so many reasons, but not so much for this, she was ready, she wanted to go. On my last visit with her she was blunt about it, "I've done everything I wanted to do and I'm ready to go". I was taken back initially but then I thought about what it must be like to live so long. Most everyone she knew was gone, she was lonely and I'd like to think she missed Grandpa.

This was my fathers mother and she came from a long line of long lived people. As such it is the historical aspect of my family that brings me so many memories. My Grandmother knew great uncle Lorenzo who fought in the Civil War for the north. She was a daughter of the American Revolution and her family landed here at Plymouth Rock on a small ship called the Mayflower.

Many of my fondest memories surround my birthday parties which she was allays there. On my 10th birthday she signed me up for an art contest at Kennedy Square in down town Detroit. When I won the contest that day I knew what I wanted to be, an artist. She was different from my other grandmother who in as much liked to take me shopping for cloths, this grandmother took me on short day trips of exploration. Opening my eyes up places like the Detroit Institute of Arts, The Main Library where I saw the famous Diego Rivera Murals, the Detroit Historical Museum and Science Centre. She signed me up for one day classes in things like Ukrainian Easter Egg decoration and drawing. Standing on Woodward in front of the Vernor's Ginger Ale plant watching through the windows. My fondest of childhood memories of a vibrant downtown Detroit which to this day inform my staunch belief in the city. She imparted a sense of exploration in me that I cherish to this day.

Grandma was married to Grandpa for over 60 years! He was quiet and sometimes seemingly hard man of few words but I knew he loved her. He has been gone for quite some time now.

Gram and me from her birthday a couple years ago...

Here is Grandmother and my cousin Ted who spoke a my mothers funeral in 2007

My last visit with her at her home in Huntington Woods a suburb of Detroit. I love this photo, it was a good day. She had baked me the chicken pie she knew I liked and I got to tell her how much all of our adventures around Detroit had meant to me. It was a really good day....

Note: All images and text (not specified) is copyrighted by Christopher Cushman.

3 comments:

Anonymous said...: so sad - sorry Chris. lovely post tho

Joe; 6:45 PM
Nigel said...: She totally gave you your cheek bones!; 1:11 AM
Anonymous said...: that was a lovely tribute to your grandmother; 11:51 AM

The Dance Through Life Project

Photograph project dedicated to capture the Art of Dance within the parameters of everyday life. The project hopes to capture the innate relationships between dance and everyday life. Images of dance performed in non-traditional locales hopefully demystifying dance as being inaccessible and drawing the obvious metaphor that while all can not express life with such movement and physicality, we all love with our own signature grace. Therefore we all dance.

Order your copy today by clicking on the books above!

Through New Eyes: The Photography of Christopher Cushman by Rinaldo Walcott

The Black male body remains an enigma despite its over representation in the public sphere. The dominance of hip hop culture globally, driven in part, but not exclusively by the innovative sounds of rap music have made Black men a standard by which Black men and other men judge themselves in contemporary culture. However, there is a paradox, because despite the prevalence of hip-hop’s popular global impact, Black men are also still some of the most despised men in Western culture. Stereotypes of criminality, disease and danger still abound and organize Black men’s lives, even within hip hop culture. Thus representations of Black men tend to be much more restricted, than open-ended. The struggle to bring Black men into complex open-ended representations has been an on-going historical struggle. One of the most potent forms of representation in the last one hundred and fifty years has been the photograph. Photography has offered the promise to represent the real in a manner that has both seduce its viewers and baffled them with its artifice. Black male photographic representations in the last half of the twentieth century and into the twenty-first have promised to rescue Black men from the confines of mis-representation and stereotype. One of the most difficult and complicated circumstances of Black male representations has been in the realm of representing their sexuality. Black men’s sexuality is still over-burdened by a perceived threat and danger, especially now in the hyped-up era of the downlow. Then along comes Cushman. I first hear of Christopher Cushman’s photography from my boyfriend. He told me of a guy who was taking photographs of black nudes based upon how they wanted themselves to be seen, not how he posed them as his models. When I met Cushman he confirmed that he did indeed work from the models’ suggested posed and not impose his own. The idea is a great one because it allows the models agency in choosing what they believe to be an adequate representation of who they are. While it is now true that in contemporary culture subjects have learned to play for the camera, offering us artifice on command, this artifice can be understood as exposing inner senses of self and being. Cushman’s photography captures and reveals those inner desires. Look at me, many of the models seems to say. But look at me anew, is also what they seem to project and insist on. Cushman’s eye lavishes these Black male bodies with glimmers of light revealing their nuance personalities. While most of the men are naked their individuality comes clearly through. And yet, their eyes too reveal that they belong to a community, a family and possess desires, fantasies and needs. In these photographs, as viewers we are given new eyes to see beyond our inner voyeur. Cushman channels, Robert Mapplethorpe, Rotimi Fani-Kayode and many other artists, commercial and amateur photographers who seek to rescue the Black male body from the disastrous depths of mis-representation, and who almost always fall short. The conversations that his models create between his work and others whether unconscious or not reveal the profound influence of the image in our time. However, in Cushman’s eyes the Black male body is not being rescued, instead it stands on a self-made pedestal, not arrogantly announcing its existence but coolly (its signature) singing its own praisesong as swathes of light and behind the camera love washes over it. In each moment a small but significant revelation is made. Each revelation offers us the opportunity of an Epiphany – to think a thought about a Black man that we have not thought before. Professor Rinaldo Walcott is a cultural critic and Canada Research Chair of Social Justice and Cultural Studies at the University of Toronto. He lives and writes in Toronto.

FIERCE! Being Black, Being Gay in America

"What Chris has done with this important collection of images, Fierce: Being Black, Being Gay in America, A Photographic Essay, is to seek, lift, and affirm the identity and visibility of men-who love-men and express it in many ways. His photographs display Midwest American men from the outlandish and flamboyant, to the subdued and subtle. You’d think these were “ladies who lunch;” muscular men dressed for the “Park” in lace, and floppy hats to give effect for all to see. Brothers connecting in places we know are safe, such as our nightclubs, the discos, and special events targeting our interests.

The importance of Fierce is paramount: all men are created equal, and share a space on earth. These portraits of men have to be recognized as God’s beauty and not His damnation. Time will thank those who were strong and dared enough to express themselves for all to see and appreciate in a manner that’s loving and creative. Time will also thank us for not living in a paranoid state of mind, and afraid of our own shadows. Remember, this cluster of work isn’t Robert Mappelthope’s approach to black imagery, but the approach of documenting men as they wanted to be seen: with and without sexual stimulation, for shock value."

Curtis A. Lipscomb
Executive Director Kick – The Agency for L-G-B-T African-Americans
Detroit Michigan / 2005
www.e-kick.com