During Lent and Holy Week, 1999, Phyllis Cole-Dai and James Murray lived voluntarily on the streets of Columbus, Ohio, the nation’s fifteenth largest city. They didn’t go out on the streets to satisfy idle curiosity, or to experience a strange new world. They didn’t go out to find answers to questions, solutions to problems. They didn’t go out to save anyone, or to hand out donations of food and blankets. They went out with one primary aim: to be as present as possible to everyone they met—to love their neighbor as themselves. Doing so, they were reminded just how difficult the practice of compassion can be, especially because of personal judgments, assumptions, fears and desires, all habits of mind that harden one’s regard for and behavior toward other people. The Emptiness of Our Hands: A Lent Lived on the Streets is a meditative narrative accompanied by nearly thirty black and white photographs, most of them shot by James using crude pinhole cameras that he constructed from trash. This book will thrust you out the door of your comfortable life, straight into the unknown. What can happen to a person without a home? Indeed, what might happen to you?
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
JamesWhite (b.1967) paints flawless black and white photorealist images. His mundane, almost incidental works, which at first glance appear to be straightforward snapshots, on closer inspection reveal themselves to be beautifully painted images.Whites paintings invest the everyday with a level of attention that is both fascinating and disturbing.White constructs his own focused world from the fragments he chooses to paint, and his works have the intensity of a crime scene photograph an unexplained moment forever captured. The details he documents lend themselves to multiple narratives that might describe the drama that inhabits these inanimate objects. In the search for evidence, the viewer is seduced by the technique of the painting, but closer scrutiny only makes it harder to define the nature of what makes the work appear so photographic, so apparently real. The absolute becomes elusive inWhites work. His world exists on the periphery of vision, where his subject matter begins and ends.
Providing an excellent example of why folk artists can be appreciated as carriers of knowledge, even if they are unaware of it, this book could change the ways we understand and appreciate American folk arts. Connecting a sharecropper from Georgia in the Southern United States to a protector and healer in Touba, Senegal, West Africa, the holy city of Mouridism, and the final resting place of its founder, Shaikh Ahmadou Bàmba Mbàcke, it makes an interesting link while examining the cultural aspects of two very different and yet similar paths of life. Historians and art historians alike will find this investigation of African American art and folk culture both interesting and insightful. Not only does this book trace the characteristics of art through the African Diaspora, but it also traces Islam through those same diasporic transportations of colonial exploration and slavery.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.