CSREA Work Samples


1. 
Mapping the Spirit, 2016-present
Digital (Kirby Content Management System)
Screenrecording of Website, 00:02:31 - Full website (www.mappingthespirit.com)



CONCEPTS, RESEARCH & PHOTOGRAPHY/VIDEO: Kameelah Janan Rasheed
WEBSITE DESIGN/DEVELOPMENT: Corey Tegeler 

Founded in 2016, Mapping the Spirit documents the permutations of spiritual and religious life amongst Black people in the United States through a digital archive built through ongoing collaboration with practitioners. (More chapters are due later this year and updates to Chapter 1). The video highlights content types (photographs, interviews, video, ephemera), content containers, and website functionality (horizontal scroll, interactive drag-and-drop that allows users to bookmark content, citation option, variable size columns for customized viewing, photo maximization, etc.)

Mapping the Spirit is a digital archive that documents the textures and nuance of Black religious experience in the United States through longform interviews, photography, video, and ephemera. Mapping the Spirit is not concerned about documenting religious practices; rather, Mapping the Spirit concerns itself with the impossible work of documenting how Black faith lives, shifts, and self-revises.

2.
Are We Reading Closely?, 2020
Brooklyn Musuem (Brooklyn, NY)
Vinyl Banners (4 banners, each: 170 x 72 in.)
Solo Project 
Photo Credit: Jonathan Dorado


I am invested in how Black material culture is circulated as well as the ethos around how these objects are read. The banners consider the criticality and care with which we approach Black material culture as something that is read, listened to, and analyzed. In addition to these banners, I gave two lectures about close-reading in relation to surveillance, AI technologies, ecology, and translation. BLACK ORBITS continues “Are We Reading Closely?” conversation around methodologies for engaging with Black material culture with attention to how we balance Black privacy with the accelerated circulation of Black material culture.

3.
Each Sentence is a Sponge!, 2020
MASSMoCA
North Adams, MA
Archival Inkjet Prints, Vellum, Xerox Paper, Paint, Pen
(Group Exhibit, Kissing Through a Curtain)
Photo Credit: Kaelan Burkett


Continuing conversations of Black privacy, this installation explores translation as a politics and poetics of desired intimacy and approximation. This installation offers sentences that emerge from acts of translations across contexts, across devices, across substrates, and across time. Some sentences offer greater transparency while others grow more opaque, challenging the assumption that translation automatically enables proximity or comprehensive understanding. Likewise, I am interested in the ways in which Black vernacular photographs allow us to consider Glissant’s “the right to opacity” and Tina Campt as well as Kevin Quashie’s commentary on silence, quietude, and privacy.

4.
Each Sentence is a Sponge!, 2020 (Individual Print: “Ritual Syntax”)
MASSMoCA
North Adams, MA
Archival Inkjet Prints, 20” x 16” 
(Group Exhibit, Kissing Through a Curtain)

The print “Ritual Syntax” is part of a larger project, Flotsam, where I seek to engage with Black privacy through speculative storytelling. The images feature eleven Black people posing on a grassy hill and most notably in a boat. In my story, they have arrived at an unnamed shore with an unfamiliar landscape. Without memory of their arrival or a method of departure, they attempt to build a society. Two embracing women an image experience simultaneous lucid dreams. These dreams become the inspiration for a sacred text, a new alphabet, and a ritual of ring shouts.

5.
Ecosystems, 2018
New Museum of Contemporary Art
New York, NY
xeroxes, archival inkjet prints, fabric, vinyl, ivy plants, video, xerox machine, printed matter, classes, community meals
(Two-Person Exhibition with Solo Projects, Fifth Floor Social Justice Residency and Exhibition)


ECOSYSTEMS grapples with Black archives of Black printed matter. I designed a hybrid resource room that includes text-based installation, video, an archival collection of Black printed matter, and a Xerox machine for the public to use. The installation considers archiving to be a community and somatic experience. As such, language and bits of the archive are mapped across all surfaces to explore the ways in which an environment is a partner in learning experiences as well as close reading methodologies. This installation was accompanied by a self-publishing class, community potlucks, and library hours for engagement with the archival matter.