Red Emma’s

The tracking of our personal information, activities, and medical data through our digital devices is an increasingly recognizable field in which the lines between caretaking and control have blurred. In this age of surveillance, mothers' behaviors and bodies are observed, made public, exposed, scrutinized, and policed like never before. _Supervision: On Motherhood and Surveillance _gathers together the work of fifty contributors from diverse disciplines that include the visual arts, legal scholarship, ethnic studies, sociology, gender studies, poetry, and activism to ask what the relationship is between how we watch and how we are watched, and how the attention that mothers pay to their children might foster a kind of counterattention to the many ways in which mothers are scrutinized.

A groundbreaking collection, Supervision is a project about vision (and _super_vision), and all the ways in which vision intersects with surveillance and politics, through motherhood and personal history as well as through the histories and relations of the societies in which we live.

Contributors: Melina Abdullah, Jeny Amaya, Gemma Anderson, Nurcan Atalan-Helicke, Sarah Blackwood, Lisa Cartwright, Cary Beth Cryor, Moyra Davey, Duae Collective, Sabba Elahi, Laura Fong Prosper, Regina José Galindo, Michele Goodwin, Alexis Pauline Gumbs, Lily Gurton-Wachter, Sophie Hamacher, Jessica Hankey, Keeonna Harris, Laëtitia Badaut Haussmann, Jennifer Hayashida, Kenyatta A.C. Hinkle, Lisbeth Kaiser, Magdalena Kallenberger, Caitlin Keliiaa, Anjuli Fatima Raza Kolb, Stephanie Lumsden, Irene Lusztig, Tala Madani, Jade Phoenix Martinez, Mónica Mayer, Iman Mersal, Jennifer C. Nash, Hương Ngô, Erika Niwa, Priscilla Ocen, Litia Perta, Claudia Rankine, Viva Ruiz, Ming Smith, Sable Elyse Smith, Sheida Soleimani, Stephanie Syjuco, Hồng-Ân Trương, Carrie Mae Weems, Lauren Whaley, Kandis Williams, Mai'a Williams, Carmen Winant, Kate Wolf, and Hannah Zeavin

Sophie Hamacher is an artist, filmmaker, and curator whose work concerns media, technology, and the archive. She is Assistant Professor of Film and Media at the Maine College of Art and Design.

Linda Day Clark is a photographer, professor, and curator noted for capturing everyday life in African American rural and urban environments, particularly in Gee's Bend, a small town southwest of Selma, Alabama.Her work has been shown in the Philadelphia Museum of Art, the Brooklyn Museum of Art, Lehman College, the Studio Museum in Harlem, and The Smithsonian's Anacostia Community Museum. She is a professor of photography at Coppin State University.

Cary Beth Cryor left an indelible mark on the city of Baltimore and the world of fine art photography when she lost her battle with a rare kidney disease, amyloidosis in late September of 1997.  While leaving her art collection to her daughter, Jazmin Cryor, of which is the subject of her most notable photographic collection which captured the very minute of her only daughter’s birth.  Beth’s journey began when she was handed her first camera in college at Morgan State in the late 1960s where she fell passionate for this form of artistic expression.  Her tenacity led her to graduate from Pratt Institute in New York where she was met with young artists of all platforms such as Phylicia Rashad, and Maya Angelou to name a few.  One of her most unknown accomplishments was achieved when she was listed as film editor for the instant classic film, “Claudine” which starred both Diahann Carroll and James Earl Jones released in 1974.

From there Beth traveled south to the state of Louisiana to document her roots in  photographing her maternal grandmother, who live to 103.  Beth created a remarkable black and white photographic exhibition titled “The Tools of Time: Hands of Carrie Bryant Tillman.”  This was a remarkable exhibit which highlighted so many components of my mother and family histories.

When Beth wasn’t working on her own projects, she served as an associate professor at Coppin State College where she taught young students about art history, African art and her love of photography.  She was known to pour into her students, and even established an all-inclusive “Coppin in Africa” trip for her students in 1988 where they visited the coast of west Africa for a week; it was Jazmin’s first international trip.

Needless to say, the loss of her mother was the most unexpected, although Beth fought long and hard to live on.  Navigating life in her mother’s absence was no easy feat for a young adult Jazmin, who was only groomed for college prep up to that point in life, and had unknowingly shifted into a survival mode of life.  Her journey of self-discovery and identity were an understatement, in a world where both the internet and reality TV were newly introduced.  Eventually, Jazmin found her footing and not only successfully earned her bachelor’s degree in psychology from Coppin State in 2007 as a Maxie Collier Scholar but also delivered the commencement address in a full circle act of thanks to all the faculty and staff who supported she and her mother.

Although Jazmin began working in the field of psychology unforeseen circumstances led her towards various industries and working capacities until she landed her dream job working for Tesla, selling the most popular luxury electric vehicles.  Her collective experience morphed her into a stellar working professional who is now happily employed with the state of Maryland in procurement services.  With having persevered through so many things unseen, and unheard, Jazmin is proud to take on her newest challenge of recirculating her mother’s work by breathing new energy and introducing her keen eye to young artists unaware of those who have definitely fine-tune the comforts they experience today.   It is my aim to expose her breathtaking photography collections to a population who is eager for a fresh refresh of an outstanding local legend, as deemed by Coppin State University when they honored the naming of their art gallery in Beth’s honor.  Jazmin continues to keep her spirit of art and photography alive to all with sight.