Campaign for Braddock Hospital

2011 - Photography (Photography)

43 cm x 35.5 cm (each)

LaToya Ruby Frazier


LaToya Ruby Frazier is an artist and a militant; her photos combine intimate views of her relation with her parents and grandparents with the history of the Afro-American community of Braddock, Pennsylvania, where she grew up and where her family still live. She reports upon the decline of this steel-producing town, which was once prosperous and where the local population today is devastated by poverty, unemployment and health problems linked to pollution. The town has currently closed the hospital which increases unemployment and makes access to treatment complicated for the residents of one of the most polluted towns in the USA. Through this documentary work with ties to the intimate, she goes beyond the basic information to touch upon the human consequences of these tragedies. Frazier’s images are embedded in the history of the United States of America and they highlight what is unspoken in the social landscape. Her work is focused on the tragedy of Braddock, a town hit by a slow decay and increasing poverty (steel factories closing, crack epidemic, community debacle, disappearance of shops and urban equipment). The captioned photographs of protests and advertising are printed with a textured effect, burnt-looking, recalling the “Rusty Belt” nickname for the steel factories of this region. The portfolio reports on a new wave of devastation, that of a workers’ culture in the process of disappearing. In 2009, the Levi’s brand chose the town as the backdrop of its new advertising campaign, focusing on the figure of the “new pioneer”. Frazier mixes photographs of this campaign with others of the town and its protests against the closure and destruction of the hospital in a form of critique of the utilization of this town and its population by Levi’s. The juxtaposition of these images documents and denounces the violent and jarring economic ambiguity of the commercial dynamic that feeds off a tragedy and a decrepit context. The proceeds of the sale of these artworks will go to the activist groups fighting for the reconstruction of the hospital.


LaToya Ruby Frazier was born in 1982 in Braddock, Pennsylvania (USA). She lives and works in New Brunswick, New Jersey and New York.


Colors:



An-My Lê on Vietnam, the Chaos of War, and the Tangibility of Memory
© » APERTURE

An-My LE

For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....

Patient Admission, US Naval Hospital Ship Mercy, Vietnam
© » KADIST

An-My LE

2010

The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...

I Am A Man
© » KADIST

Hank Willis Thomas

2013

The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...

Alistair Fate
© » KADIST

Catherine Opie

1994

Alistair Fate (1994) depicts, presumably, a member of the LGBT community...

Intentionally Left Blanc
© » KADIST

Hank Willis Thomas

2012

Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...

Black Imitates White
© » KADIST

Hank Willis Thomas

2012

Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...

Gerald Hughes, a.k.a. Savage Fantasy’; about 25 years old
© » KADIST

Philip-Lorca diCorcia

For this series, Philip-Lorca diCorcia walked along Santa Monica Boulevard in Los Angeles in search of models who would be prepared to pose in hotel rooms according to pre- planned scenarios...

Raven (gun)
© » KADIST

Catherine Opie

1987

In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...

I am the Greatest
© » KADIST

Hank Willis Thomas

2012

Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...

Untitled (Women)
© » KADIST

Matt Lipps

2011

Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...

Black Hands, White Cotton
© » KADIST

Hank Willis Thomas

2014

Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...

Untitled (Men)
© » KADIST

Matt Lipps

2011

In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...

Cathy (bed self-portrait)
© » KADIST

Catherine Opie

1987

Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...

Forest Gathering N.2
© » KADIST

Gregory Crewdson

2005

Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...

Mike and Sky
© » KADIST

Catherine Opie

1993

Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...

Freeway Series
© » KADIST

Catherine Opie

1994

Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...