Drew Thompson

United States of America

Drew is a writer, educator, art historian, and curator who currently serves as associate professor of visual culture and Black studies at the Bard Graduate Center and Bard College. He is the author of Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (2021), and is presently at work on his second monograph, titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and Contemporary Art. His writings on contemporary art have appeared in Africa Is A Country, Foam Magazine, the White Review, and in edited volumes published by the Art Institute of Chicago, the Image Centre, the Walther Collection, and the Studio Museum in Harlem. Recently he co-curated the award-winning exhibition Benjamin Wigfall and Communications Village at the Dorsky Museum of Art and Virginia Museum of Fine Arts, and Sightlines on Peace, Power, and Prestige: Metal Arts of Africa at the Bard Graduate Center Gallery.

Work from this contributor

An illustration of an apartheid-era passbook with a photo of a black man with text below calling for a boycott of Polaroid

The Labour of SolidarityThe Labour of Solidarity

The Polaroid Revolutionary Workers Movement emerged at the height of the civil rights movement in the United States to hold the company accountable for the use of its products by the apartheid state in South Africa. Deploying a range of tactics, including using the company’s progressive veneer and marketing slogans against it, the movement’s leaders showed the power of global Black solidarity, Drew Thompson writes.

By Drew Thompson

United States of America

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