Featured in Fraction Magazine

Once again, I am grateful to announce the inclusion of Black Picket Fences, in another photographic journal. This time, my work has been featured in Issue 115 of Fraction Magazine. Great thanks to Bree Lamb, for reaching out and including my work! It is always refreshing to hear when people have been following my progress!

To view the feature, click here.

Akea Brown on Fraction Mag

White Resentment in Maryland Suburb

Recently, I stumbled upon an article published by the Wall Street Journal, which was published seventeen years ago. However, the content of the article was intriguing, especially in relation to my series, Black Picket FencesThe article is titled, "In the Maryland Suburb of Bowie, Some Whites Resent Wealthier Blacks."

Of course, I do not think that the "resentment" cited in the article is specific to Bowie, Maryland. You will find this form of resentment anywhere you go. But when one considers the history and development of Bowie, it does pose an interesting question about the dynamics of race, especially in relation to shifts in political power. As stated in the article by Jo Bolig, a white special-education teacher, "Whites 'feel more and more powerless'.....They have less and less control and influence. Whites feel like they're losing their grip. It's provoking a kind of racial angst."  

The basis of my dissertation titled, The Spatialization of Race: A Multidisciplinary Analysis of the Black Suburban Landscape, is centered around the examination of black suburban communities, as the antithesis of the privileges gained through whiteness. I critique and challenge the concept of whiteness, as more than simply racial prejudice, but as a system that is designed to maintain power; often through generational wealth transfer and property acquisition. The article does a good job at hinting at this, but I do think the term "resentment" should be switched to "fear." It is my opinion that a lot of this has a lot more to do with the uncertainty of the future of white security and social standing, and less to do with the advancement of blacks. At the end of the day, blacks doing better, means white security might not be guaranteed anymore; the loss of power is truly what they fear. 

You can read the article at the following link:

It's been almost eighteen years since it was first published, but I think it's an important citation.

Pursue Pictures - Honorable Mention

I am very excited to be included in the final round of selections for "People & Places", hosted and selected by Pursue Pictures. The photo that was chosen (also, the only photograph that I submitted), was my favorite photograph from my Black Picket Fences series, titled "Jakie." Thank you to jury for the inclusion in the gallery; it's great being recognized with so many talented photographers!

Jakie - Pursue Pictures Selection

"The Selfie" as a Desire for Communal Acceptance?

While scanning through some ruined film, I came across a badly exposed "selfie" I had attempted to take. Now, I understand that nothing about this photo was exposed to accurately read the lighting for the fish tank, as well as the lighting of the room, in addition to the light shining on me from the screen door. In addition to the visible mounting fluid (a sign of how lazy my scanning habits were that day), the dust marks, and the crooked frame; this is not a photo for the books! However, I still decided to keep the photo of myself, because it was a photo of myself (which can often be hard to come by as a photographer). It was not too long after viewing this photo, that I came across an essay by Adam Levin, featured on Invisible Culture: An Electronic Journal for Visual Culture (IVC), titled The Selfie in the Age of Digital Recursion.  

Selfies aren't new to the cell phone era, not in my point of view at least. There have been a variety of ways in which people have attempted to document themselves in one way or another. Yes, I do consider those old commissioned portraits to be forms of selfie! Although, Levin makes it quite clear that his examination of the selfie, is rooted in the digital age. The main difference between the past and the present, in my own opinion, is the level of accessibility, and the level of engagement with others, in order to obtain photographs of yourself. Now, selfies can be obtained by anyone, and all you need is your hand, and a camera or phone. But Levin dissects the selfie as "the representation of the self as a product of the system of interpersonal relationships through which it is articulated online." Levin does a great job on focusing on the ways in the selfies have become productions themselves, and the ways in which it's informed our interpersonal relationships. As Levin states:

The fissure between phenomenal experience and digital interaction originates in the translation of the former into the latter. This kind of translation not only involves a system of mediation (disassociation), but also one of transmission, in which the selfie serves as a “real-time” performance of self oriented towards an audience situated elsewhere. This performance, so integral to processes of individuation and identification within groups, is always defined by a spatial and temporal displacement, as well as a separation between the self and the sign (the selfie) that is its surrogate.4

Yet, the very fact of a fissure implies a primary connection, a continuum in which a cleft has been rent, the persistence or memory of which reveals the fissure as such. Phenomenal engagements feed into digital interactions, just as the latter feed back into the former, each informing the other in an ongoing system of recursion that implies a certain continuity between the two. The digital and phenomenal aspects of contemporary group dynamics are thus more indicative of interpenetrating ecologies than they are of separate planes of experience.

The strength of Levin's writing, lies in the ways in which he is able to draw connections between modern representations of shifting ecologies, with the ways in which we perform within these spaces. This is demonstrated through a section which focuses on the aspects of disassociation and associative realignment, as demonstrated in the "RIP Grandpa Wu" selfie (pictured below). As Levin writes: 

While selfies, such as “RIP Grandpa Wu,” may evince a certain callousness and indifference to behavioral norms, they also reveal an associative realignment. [Fig. 1] This realignment moves the onus of experience away from phenomenal engagements with adjacent strangers and towards digital interactions with online communities. The former tend to be ruled by pre-established codes of conduct that ensure civility in place of familiarity; the latter rely on more itinerate and fluid systems of mores developed within (or adopted by) online associative networks in the process of formation.

Figure 1. @Bellaaadramatic, “RIP Grandpa Wu,” Twitter post, March 24, 2013, 7:29 p.m.

Figure 1. @Bellaaadramatic, “RIP Grandpa Wu,” Twitter post, March 24, 2013, 7:29 p.m.

Overall, I think this is a great read, that does an amazing job of incorporating a short history of photography with aspects of modern aesthetic and interpersonal culture. Do give this essay a read, it spurs some interesting questions and moments for self awareness.


“Figure 5. Just Press One Button–That’s It!” Polaroid Advertisement, 1977.

“Figure 5. Just Press One Button–That’s It!” Polaroid Advertisement, 1977.

Uncertain Times

I'm incredibly excited to begin to share projects that I'm working on, but before I do that, I thought I'd share the photograph that served as the catalyst for the shift in my work and the way I began thinking about race, politics, and identity as interwoven themes.

For the past two years, my practice has transitioned into studying and commenting on black identity, as it relates to the performativity of race and culture in 'Black' America. Earlier this year, I was honored to be chosen as one of the artists in an exhibition titled, Uncertain Times: Borders, Refuge, Community, Nationhood. The exhibition was held at the University of the Arts, in Philadelphia. The show was juried and curator by Deborah Willis, in conjunction with SPE's 55th Annual Conference. 

The exhibition was centered around the idea of humanity, with a particular focus on the current affairs of immigration, border patrol, and nationhood. As stated by SPE: 

Ours is a time where borders and division continue to challenge our very understanding of humanity. The opportunity to share on an international level is as close as the screens we hold in our hands, and yet, in a time of prolific imagemaking many lens-driven stories remain unseen. For every picture story brought to light, too many struggle for exposure. The power of images to ignite the rally cry for change are the same images that encourage empathy and stewardship, and these images come from every aspect of the photographic world—documentarians, conceptual artists, and citizens with their mobile devices. SPE's 55th Annual Conference, Uncertain Times, will address questions of globalization, migration, territory, refuge, community, identity, nationalism, and internationalism, and will evaluate the contribution of photographic practices seeking to humanize and reveal these topics. The conference will focus on the ways in which photographic media are implicated in demonstrating both moments of crisis as well as moments of resolve. This is a call to convene critical producers, thinkers, and thoughtful spectators of photography to unpack the meanings of the layered dimensions of the human story in the 21st century.