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All images by Titus Brooks Heagins and are subject to copyright protection.

Cover: Nikki, 2009

EXHIBITION SUPPORT PROVIDED BY

The Frankie G. Weems Art Gallery Endowment FundMeredith College Art Department

Elizabeth Firestone Graham Foundation

Devonte Hayes, 2008

FRANKIE G. WEEmS ART GAllERyRAlEIGH, NORTH CAROlINA

J a n u a r y 3 1 – a p r i l 4 , 2 0 1 0

TIT

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Michael, Amanda and Luna, 2009

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TABlE OF CONTENTS

INTRODUCTION 4

DESIRE AND OTHERNESS 6Titus Brooks Heagins

ARTIST'S STATEmENT 7

THE SPACE BETWEEN US 8Marianetta Porter

WORKS IN THE EXHIBITION 16

TITUS BROOKS HEAGINS 19

ACKNOWlEDGEmENTS 20

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INTRODUCTION

spiritual expressions of descendents of Africans living in the Western hemisphere, l ife in Cuba and Haiti , those who remained and those who fled the deterioration of Detroit’s streets, buildings, homes, churches and playgrounds, among others. As I’ve experienced his work from some of these series, I ’ve felt the concept of desire and otherness is present as well.

Titus’s images stimulate questions and comparisons based upon the viewer ’s experiences, both in common with and different from the subject. The urge to compare and contrast i s immediate and unavoidable ; the fee l ings o f comfor t and unease, as well. In her essay, Marianetta Porter o f f e r s a perspect ive on the immediacy of this dia logue between artist, subject and viewer, complementing the thoughts Titus voices in his statement. I am pleased Meredith College is able to present this remarkable collection of images that provide the opportunity for examining one’s openness to differences, personal biases, and growth in self knowledge.

Ja'nay, 2009

Titus Heagins’ photographic inquiries are diverse: portraits of

East Durham, North Carolina residents, photographic

reconstructions of pre-emancipation images of African Americans,

—ANN ROTHGallery Director, Meredith College

Opposite: Jesse, 2009

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O therness is def ined by di fference , typical ly manifested by

race , c lass , gender, and/or some other visual markers .

DESIRE AND OTHERNESS

In a world of heightened individuality, our desire of otherness evidences the fact we cannot exist without “the other,” especially since without them we cannot possess a true concept of ourselves. Continually, day-to-day we define ourselves in opposition to “the other.”

Desire for the other can never be fulfil led, because otherness is located in an unattainable state of being. Yet through representations of common cultural consumptions, otherness is consumed and daily replenished. Essentially, we desire that which we are not, or that which we are willing to become momentarily if only for a moment. Desire is represented in unconscious wishes and conscious fantasies.

“Desire and Otherness” is a both a visual narrative and photographic discourse. The visual narrative recounts the stories of marginalized persons who are daily robbed of voice through the simplest interactions with those of the dominant cultures. The photographic discourse is dependant upon the viewers’ ability and willingness to honestly face “the other” and recognize their own location within the context of otherness. Further, it is incumbent upon the viewer to ferret out his or her own participation in the intellectual and physical disempowerment of persons of difference.

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Lolita Girls, 2008

ARTIST'S STATEmENT

I believe that the beauty in the experiences of the “outsider” simply doesn’t escape my eye. My photography is rooted in and dedicated to the expressive documentary spirit and tradition. Within that spirit , authorship and a personal visual aesthetic is grounded in humanistic stories and themes.

For the past several years, my visual obsession has embraced the documentary portrait . I attempt to locate and capture the essence of the sitter ’s complicated state of mind and state of being. Ideally, the portrait within the frame renders the totality of the sitter ’s emotional range and the complexity

of his or her situation. Fear, curiosity, resignation, resilience, achievement and failure are integral to the body language and facial expression. The images become two-dimensional provocations of silent statements and are unavoidable confrontations between the viewer and sitter. My photography endeavors to introduce the subject into the lives of the viewers in ways that influence their day-to day experience. Finally, I seek to create an image that is a fusion of my technical acumen and the sitter ’s physical, emotional, and experiential states.

—TITus BrOOks HEAgINs, MFA

I t has been said that I am obsessed with creating

beautiful images regardless the subject matter.

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THE SPACE BETWEEN US

The bulk of Titus Heagins’ work as a documentary photographer

focuses on portraiture as a window into a distant world.

Whether the people he photographs are removed from us geographically, culturally or socially, Heagins’ insistence on placing them squarely in front of us as declarations of their common humanity calls into question our own capacity for tolerance and openness in the face of difference.

Who are we in relation to them? How does our own gaze implicate us? What meanings and messages do those gazing back at us convey? These complexities, inherent in the act of looking, cannot be reduced to simple dichotomies of self and exotic other. self-other relations are matters deeply rooted in notions of power and desire, fear and fascination, politics and poetics. The large-scaled portraits that comprise the exhibition provide a rich context for exploring the nature of otherness, its relationship to desire, and one’s own gauge of internal conflict or comfort.

The range of experience within the space called desire is multifaceted. It is difficult to

define, teetering on the edge of sublime beauty and dreadful menace. It is dirty and pure. It is envy. It is lust. It is the essence of love and of beauty. Desire clings to the objects and images visible on our television sets and movie screens. It is anticipation, enticement, appetite and longing. It is the projection of our deepest hopes and of our darkest fears.

The seductive power of “Desire and Otherness” lies in its ability to captivate us despite the fact that the images may initially seem at odds with our established sensibilities. Japanese “Lolita girls”, elaborately costumed with ruffles and parasols reminiscent of 19th century Victorian fashion, seem out of sync with time and their own native culture. Boundaries are crossed. Lines of distinguishable identities are blurred. Conversely, a young Haitian girl stands before a sky blue wall. Her worn t-shirt displays an image of Disney’s Cinderella, the epitome of wish fulfil lment — suggesting, in due time,

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surround people with albinism. some believe they are immortal . Others think they are cursed. In some parts of the world, they are ki l led in the belief that potions concocted from their body parts wil l enhance wealth or bring in the belief that potions concocted from their body parts wil l enhance wealth or bring good luck. The de-humanization and mythology surrounding people with albinism make them vulnerable to violence and prejudice around the world. Nicole is neither goddess nor demon. In fact, the surprising command of this image relies on its ordinariness, its ability to transcend the spectacle of otherness and celebrate the beauty of everyday people.

As Peter stallybrass and Allon White, authors of the book, The Politics and Poetics of Transgression, remind us: “In modern society the inside is normally associated with the most powerful socioeconomic groups existing at the

Papa's Petite Princesse, 2009

the promise of magical transformation from rags to riches. The tension is palpable. In both portraits we are acutely aware of the gulf between the girls’ identity and the allure of the American dream that they project.

ryan returns our gaze without apology. Though his stance is inviting, his look is unabashedly defiant. Displayed semi-nude against a background of chili pepper red floral wallpaper, the photograph plays with the edge of masculinity and implicit androgyny. We struggle to resolve a host of uneasy feelings related to issues of gender, sexuality and the dynamics of power that s immer just beneath the surface.

Another portrait presents Nikki. she is an albino. Her pale features are the result of a congenital condition that l imits the production of melanin pigmentation in her skin, eyes and hair. There are many misconceptions, born of ignorance, that

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center of cultural power. They demonstrate, exercise and preserve their power through their ability to create and enforce the dominant definitions of normal and deviant, superior and inferior.” Those outside of this sphere of influence struggle to define and defend themselves against a system that continually marginalizes and renders them invisible.

Whether photographing abroad or within the confines of his own local community, Titus Heagins attempts to give voice to a voiceless population. His portraits validate their l ives and their humanity. He has amassed an array of stunning portraits that challenge

us to reconcile our judgments of those who stand outside of our own familiar circles. He encourages us to recognize that we are irrevocably bound to one another despite our differences. Through his work, he questions our conciliatory participation in an unjust and imbalanced social enterprise. He offers a path for a deeper understanding of how our own desires play into the commodification and disenfranchisement of others.

—MARIANETTA PORTERProfessor, University of Michigan

School of Art and Design

Opposite: Jamila, 2009

Ryan, 2009

His portraits validate their lives and their humanity.” “

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TITlE

Louis' Jeune Fille, 2009

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TITlE

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Amanda, 2009

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Ashley and Chris Strike a Pose, 2008

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WORKS IN THE EXHIBITION

Minimum image dimension 34" x 50"

amanda

2009

Archival giclée print

andy

2009

Archival giclée print

ashley and Chris Strike a pose

2008

Archival giclée print

Barbie

2008

Archival giclée print

Contestants, Club CC

2008

Archival giclée print

Devonte Hayes

2008

Archival giclée print

in God We Trust

2009

Archival giclée print

Jamila

2009

Archival giclée print

Ja'nay

2009

Archival giclée print

Jermaine and Jeramie, Twins

2007

Archival giclée print

Jesse

2009

Archival giclée print

Julian

2009

Archival giclée print

Kimora

2008

Archival giclée print

Kiss Me

2008

Archival giclée print

Opposite: Julian, 2009

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lolita Girls

2008

Archival giclée print

louis' Jeune Fille

2009

Archival giclée print

Michael, amanda and luna

2009

Archival giclée print

new Store

2008

Archival giclée print

nikki

2009

Archival giclée print

papa's petite princesse

2009

Archival giclée print

ryan

2009

Archival giclée print

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Jermaine and Jeramie, Twins, 2007

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TITUS BROOKS HEAGINSEDUCAT ION

MFA , school of Art and Design, university of Michigan, Ann Arbor, Michigan

AB , Political science Duke university, Durham, North Carolina

MUSEUM COLLECTIONS

smithsonian Anacostia Museum of African American Art and History, Washington, DC

North Carolina Museum of Art, raleigh, North Carolina

Lehigh university Zoeller galleries, Bethlehem, Pennsylvania

North Carolina Central university Museum of Art, Durham, North Carolina

Casa de Africa, Havana, Cuba

AWARDS AND FELLOWSHIPS

Hampton university Museum of Art New Power generation 2005, Ruben V. Burrell Photography Award

American Photographic Institute, Tisch school, New York university Fellow, Summer 2001

university of Michigan Alice Webber Glover Film Award , Fall 2002 Arts in Citizenship Fellowship, 2001–2002 Rackham Fellowship, 2000–2002

university of Iowa Graduate Arts Fellowship

Durham Arts Council Emerging Artist Grant, 2007 Emerging Artist Grant, 1999

PUBLICATIONS

International Journal of African and African American Art

Viajeros: North American Artist/Photographers’ Images of Cuba

ACKNOWlEDGEmENTS

Working with Titus Heagins on this exhibition has been a pleasure and a privilege. His curiosity, compassion and extraordinary eye have stimulated my perceptions and thoughts, and I am grateful for his willingness to share his works so that others may benefit from his perspectives. The Elizabeth Firestone graham Foundation provided funds for this catalogue so that the issues raised by Titus’s work

will find continued exposure after the images come down from the walls. The Frankie g. Weems gallery Endowment Fund supported programs in conjunction with the exhibition, as did the Meredith College art department. Meredith College graphic design major kathy Foresta’s catalogue format sensitively emphasizes the power of Titus Heagins’ work. To a l l of these people a n d o rg a n i z a t i o n s , I o f f e r m y t h a n k s a n d appreciation.

Andy, 2009

—ANN ROTH

Gallery Director, Meredith College

New Store, 2009

CATALOGUE DESIGN BY KATHY FORESTA