TEDWomen 2017
Deb Willis and Hank Willis Thomas: A mother and son united by love and art
Debora Vilis, Henk Vilis Tomas (Deborah Willis, Hank Willis Thomas): Majka i sin ujedinjeni ljubavlju i umetnošću
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Profesor umetničke škole je jednom rekao Debori Vilis da ona, kao žena, zauzima mesto dobrom muškarcu, ali ona, kao narativni fotograf, kaže da je umesto toga napravila mesto za dobrog čoveka, svog sina, Henka Vilisa Tomasa. U ovom dirljivom govoru, majka i sin, umetnici, opisuju kako su učili jedno od drugog u svom radu, kako njihova umetnost osporava dominantne priče o crnačkom životu i crnačkoj sreći, i kako se naposletku sve svodi na ljubav.
Double-click the English transcript below to play the video.
00:12
Hank Willis Thomas: I'm Deb's son.
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Henk Vilis Tomas: Ja sam Debin sin.
00:14
(Laughter)
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(Smeh)
00:16
Deborah Willis: And I'm Hank's mom.
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Debora Vilis: A ja sam Henkova mama.
00:18
HWT: We've said that so many times,
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HVT: Toliko puta smo to rekli,
00:20
we've made a piece about it.
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da smo napravili delo od toga.
00:22
It's called "Sometimes
I See Myself In You,"
I See Myself In You,"
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Zove se „Ponekad vidim sebe u tebi“
00:25
and it speaks to
the symbiotic relationship
the symbiotic relationship
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i ono govori o simbiotičkoj vezi
koju smo razvili tokom godina
kroz naš život i rad.
kroz naš život i rad.
00:27
that we've developed over the years
through our life and work.
through our life and work.
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Zaista, to je zato što gde god idemo
00:30
And really, it's because everywhere we go,
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zajedno ili odvojeno,
00:33
together or apart,
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mi nosimo ova preuzeta imena.
00:35
we carry these monikers.
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00:37
I've been following
in my mother's footsteps
in my mother's footsteps
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Ja sam krenuo majčinim stopama
još pre nego što sam se rodio
00:39
since before I was even born
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00:40
and haven't figured out how to stop.
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i nisam otkrio kako da se zaustavim.
00:43
And as I get older, it does get harder.
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A kako starim, postaje teže.
00:46
No seriously, it gets harder.
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Ne stvarno, postaje teže.
00:48
(Laughter)
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(Smeh)
00:50
My mother's taught me many things, though,
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Ipak, moja majka me je naučila mnogo čemu,
00:52
most of all that love overrules.
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a pre svega da ljubav pobeđuje.
00:55
She's taught me that love
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Naučila me da je ljubav
00:57
is an action,
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delo, a ne osećanje.
01:00
not a feeling.
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01:01
Love is a way of being,
it's a way of doing,
it's a way of doing,
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Ljubav je način bivstvovanja,
način postupanja.
način postupanja.
01:05
it's a way of listening
and it's a way of seeing.
and it's a way of seeing.
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Ona je način slušanja,
i ona je način gledanja.
i ona je način gledanja.
01:09
DW: And also, the idea about love,
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DV: I takođe, ideja o ljubavi,
01:11
photographers,
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fotografi...
01:14
they're looking for love
when they make photographs.
when they make photographs.
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oni traže ljubav kada prave fotografije.
01:17
They're looking and looking
and finding love.
and finding love.
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Oni traže, traže i pronalaze ljubav.
Odrastajući u Severnoj Filadelfiji,
01:19
Growing up in North Philadelphia,
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bila sam okružena ljudima
u porodici i prijateljima
u porodici i prijateljima
01:21
I was surrounded by people
in my family and friends
in my family and friends
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koji su pravili fotografije
01:25
who made photographs
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01:26
and used the family camera
as a way of telling a story about life,
as a way of telling a story about life,
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i koristili porodični fotoaparat
kao sredstvo da se ispriča priča o životu,
kao sredstvo da se ispriča priča o životu,
01:30
about life of joy,
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o životu radosti,
01:32
about what it meant
to become a family in North Philadelphia.
to become a family in North Philadelphia.
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o tome šta znači postati porodica
u Severnoj Filadelfiji.
u Severnoj Filadelfiji.
01:37
So I spent most of my life
searching for pictures
searching for pictures
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Tako da sam provela veći deo svog života
tražeći slike koje prikazuju ideje
tražeći slike koje prikazuju ideje
01:40
that reflect on ideas
about black love, black joy
about black love, black joy
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o crnačkoj ljubavi, crnačkoj radosti
01:43
and about family life.
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i o porodičnom životu.
01:45
So it's really important to think about
the action of love overrules as a verb.
the action of love overrules as a verb.
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Tako da je veoma važno da mislimo o činu
ljubavi koja pobeđuje kao o glagolu.
ljubavi koja pobeđuje kao o glagolu.
01:52
HWT: Sometimes I wonder
if the love of looking is genetic,
if the love of looking is genetic,
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HVT: Ponekad se pitam
da li je ljubav gledanja genetska,
da li je ljubav gledanja genetska,
01:56
because, like my mother,
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jer, kao i moja majka,
01:58
I've loved photographs
since before I can even remember.
since before I can even remember.
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ja sam voleo fotografije
od kad znam za sebe.
od kad znam za sebe.
02:02
I think sometimes that --
after my mother and her mother --
after my mother and her mother --
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Ponekad pomislim,
posle moje majke i njene majke,
posle moje majke i njene majke,
02:06
that photography and photographs
were my first love.
were my first love.
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da su fotografija i slike
bile moje prve ljubavi.
bile moje prve ljubavi.
02:09
No offense to my father,
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Bez uvrede mom ocu,
02:11
but that's what you get
for calling me a "ham"
for calling me a "ham"
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ali to je ono što dobiješ
kad me zoveš „šunka“ gde god ideš.
kad me zoveš „šunka“ gde god ideš.
02:14
wherever you go.
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02:15
I remember whenever I'd go
to my grandmother's house,
to my grandmother's house,
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Sećam se da, kad god sam išao
u kuću moje bake,
u kuću moje bake,
02:18
she would hide all the photo albums
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ona bi sakrila sve foto albume
02:19
because she was afraid of me asking,
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iz straha da ću je pitati:
„A ko je ovo na ovoj slici?“
„A ko je ovo na ovoj slici?“
02:22
"Well, who is that in that picture?"
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i „Ko su oni tebi, a ko su oni meni,
02:23
and "Who are they to you
and who are they to me,
and who are they to me,
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i koliko si godina imala
kad je ovo uslikano?
kad je ovo uslikano?
02:26
and how old were you
when that picture was taken?
when that picture was taken?
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Koliko sam ja imao kada je uslikano?
02:28
How old was I when that picture was taken?
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I zašto su crno-bele?
02:30
And why were they in black and white?
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Da li je svet bio crno-beli
pre nego što sam se ja rodio?“
pre nego što sam se ja rodio?“
02:32
Was the world in black and white
before I was born?"
before I was born?"
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DV: Pa, to je interesantno,
02:34
DW: Well, that's interesting,
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da mislimo o svetu kao crno-belom.
02:36
just to think about the world
in black and white.
in black and white.
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Odrasla sam u kozmetičkom salonu
u Severnoj Filadelfiji,
u Severnoj Filadelfiji,
02:38
I grew up in a beauty shop
in North Philadelphia,
in North Philadelphia,
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kozmetičkom salonu moje mame,
gledajući „Eboni magazin“,
gledajući „Eboni magazin“,
02:41
my mom's beauty shop,
looking at "Ebony Magazine,"
looking at "Ebony Magazine,"
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pronalazeći slike koje su pričale priče
koje nisu često bile u dnevnim vestima,
koje nisu često bile u dnevnim vestima,
02:43
found images that told stories
that were often not in the daily news,
that were often not in the daily news,
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02:48
but in the family album.
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već u porodičnom albumu.
02:50
I wanted the family album
to be energetic for me,
to be energetic for me,
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Želela sam da porodični album
bude energičan za mene,
bude energičan za mene,
02:53
a way of telling stories,
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način da se ispričaju priče.
02:54
and one day I happened upon a book
in the Philadelphia Public Library
in the Philadelphia Public Library
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Jednog dana naišla sam na knjigu
u filadelfijskoj državnoj biblioteci
u filadelfijskoj državnoj biblioteci
02:58
called "The Sweet Flypaper of Life"
by Roy DeCarava and Langston Hughes.
by Roy DeCarava and Langston Hughes.
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koja se zvala „Slatka zamka života“
od Roja Dekarave i Lengstona Hjuza.
od Roja Dekarave i Lengstona Hjuza.
Mislim da me je kao sedmogodišnjakinju
privukao naslov, zamka i slatka,
privukao naslov, zamka i slatka,
03:03
I think what attracted me
as a seven-year-old,
as a seven-year-old,
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03:05
the title, flypaper and sweet,
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ali razmišljati o tome sa sedam godina...
03:08
but to think about that
as a seven-year-old,
as a seven-year-old,
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03:10
I looked at the beautiful images
that Roy DeCarava made
that Roy DeCarava made
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Gledala sam prelepe slike
koje je Roj Dekarava napravio
koje je Roj Dekarava napravio
03:13
and then looked at ways
that I could tell a story about life.
that I could tell a story about life.
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i onda pronalazila načine
kako bih mogla da ispričam priču života.
kako bih mogla da ispričam priču života.
03:17
And looking for me is the act
that basically changed my life.
that basically changed my life.
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Posmatranje je za mene čin
koji mi je suštinski promenio život.
koji mi je suštinski promenio život.
03:21
HWT: My friend Chris Johnson
told me that every photographer,
told me that every photographer,
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HVT: Moj prijatelj Kris Džonson
mi je rekao da svaki fotograf,
mi je rekao da svaki fotograf,
03:25
every artist, is essentially
trying to answer one question,
trying to answer one question,
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svaki umetnik, u suštini, pokušava
da dȃ odgovor na jedno pitanje,
da dȃ odgovor na jedno pitanje,
03:29
and I think your question might have been,
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i mislim da je tvoje pitanje možda bilo:
03:32
"Why doesn't the rest of the world
see how beautiful we are,
see how beautiful we are,
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„Zašto ostatak sveta
ne vidi koliko smo lepi,
ne vidi koliko smo lepi,
i šta mogu da uradim da pomognem
03:35
and what can I do to help them
see our community the way I do?"
see our community the way I do?"
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da vide našu zajednicu
onako kako je ja vidim?“
onako kako je ja vidim?“
DV: Dok sam išla u umetničku školu -
03:39
DW: While studying in art school --
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verovatno je tačno -
03:41
it's probably true --
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03:42
I had a male professor who told me
that I was taking up a good man's space.
that I was taking up a good man's space.
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imala sam profesora koji mi je rekao
da zauzimam mesto dobrom muškarcu.
da zauzimam mesto dobrom muškarcu.
03:47
He tried to stifle my dream
of becoming a photographer.
of becoming a photographer.
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Hteo je da uguši moj san
da postanem fotograf.
da postanem fotograf.
03:50
He attempted to shame me
in a class full of male photographers.
in a class full of male photographers.
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Pokušao je da me postidi
u razredu punom muških fotografa.
u razredu punom muških fotografa.
03:54
He told me I was out of place
and out of order as a woman,
and out of order as a woman,
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Rekao je da meni kao ženi nije tu mesto,
03:58
and he went on to say
that all you could and would do
that all you could and would do
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i nastavio je rekavši da sve što mogu
i što ću da uradim je da rodim bebu
i što ću da uradim je da rodim bebu
04:01
was to have a baby when a good man
could have had your seat in this class.
could have had your seat in this class.
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dok bi na mom mestu u razredu
mogao da sedi neki dobar muškarac.
mogao da sedi neki dobar muškarac.
04:05
I was shocked into silence
into that experience.
into that experience.
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Zanemela sam od ovog iskustva.
Ali sam imala svoj fotoaparat
i bila sam rešena da mu dokažem
i bila sam rešena da mu dokažem
04:09
But I had my camera,
and I was determined to prove to him
and I was determined to prove to him
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04:12
that I was worthy
for a seat in that class.
for a seat in that class.
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da sam vredna mesta u tom razredu.
04:14
But in retrospect, I asked myself:
"Why did I need to prove it to him?"
"Why did I need to prove it to him?"
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Ali gledajući unazad, pitam se:
„Zašto sam imala potrebu da mu dokazujem?“
„Zašto sam imala potrebu da mu dokazujem?“
04:18
You know, I had my camera,
and I knew I needed to prove to myself
and I knew I needed to prove to myself
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Znate, imala sam moj fotoaparat,
i znala sam da treba da dokažem sebi
i znala sam da treba da dokažem sebi
04:21
that I would make
a difference in photography.
a difference in photography.
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da ću učiniti nešto u fotografiji.
04:23
I love photography, and no one
is going to stop me from making images.
is going to stop me from making images.
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Obožavam fotografiju i niko me neće
zaustaviti u tome da stvaram slike.
zaustaviti u tome da stvaram slike.
HVT: Ali onda ja ulazim u priču.
04:27
HWT: But that's when I came in.
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DV: Da, te godine kada sam diplomirala,
ostala sam u drugom stanju.
ostala sam u drugom stanju.
04:29
DW: Yeah, that year I graduated,
I got pregnant.
I got pregnant.
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04:32
Yep, he was right.
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Da, bio je u pravu.
04:34
And I had you,
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I dobila sam tebe,
04:35
and I shook off that sexist language
that he used against me
that he used against me
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i odbacila sam taj seksistički govor
koji je on koristio protiv mene,
koji je on koristio protiv mene,
04:40
and picked up my camera
and made photographs daily,
and made photographs daily,
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uzela sam svoj fotoaparat
i pravila fotografije svakodnevno,
i pravila fotografije svakodnevno,
04:43
and made photographs of my pregnant belly
as I prepared for graduate school.
as I prepared for graduate school.
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pravila fotografije mog trudničkog stomaka
dok sam se spremala za postdiplomske.
dok sam se spremala za postdiplomske.
04:48
But I thought about also
that black photographers were missing
that black photographers were missing
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Ali sam takođe mislila i o tome
kako crnih fotografa nema
kako crnih fotografa nema
04:52
from the history books of photography,
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u knjigama o istoriji fotografije,
04:55
and I was looking
for ways to tell a story.
for ways to tell a story.
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i tražila sam načine da ispričam priču.
04:58
And I ran across Gordon Parks' book
"A Choice of Weapons,"
"A Choice of Weapons,"
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Naišla sam na knjigu Gordona Parksa,
„Izbor oružja“, njegovu autobiografiju.
„Izbor oružja“, njegovu autobiografiju.
05:03
which was his autobiography.
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05:04
I began photographing and making images,
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Počela sam da fotografišem i pravim slike,
05:07
and I tucked away that contact sheet
that I made of my pregnant belly,
that I made of my pregnant belly,
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umetnula sam tu rolnu koju sam
napravila sa mojim trudničkim stomakom,
napravila sa mojim trudničkim stomakom,
05:11
and then you inspired me
to create a new piece,
to create a new piece,
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i onda si me ti inspirisao
da stvorim novo delo,
da stvorim novo delo,
05:14
a piece that said, "A woman
taking a place from a good man,"
taking a place from a good man,"
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delo koje je govorilo:
„Žena koja zauzima mesto dobrom muškarcu“,
„Žena koja zauzima mesto dobrom muškarcu“,
05:18
"You took the space from a good man,"
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„Ti si zauzela mesto dobrom muškarcu“,
05:20
and then I used that language
and reversed it and said,
and reversed it and said,
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Onda sam iskoristila taj govor,
preokrenula ga i rekla,
preokrenula ga i rekla,
05:24
"I made a space for a good man, you."
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„Napravila sam mesta
za dobrog muškarca. Za tebe.“
za dobrog muškarca. Za tebe.“
05:26
(Applause)
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(Aplauz)
05:28
HWT: Thanks, ma.
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HVT: Hvala, mama.
(Aplauz)
Kakva majka, takav sin.
05:33
Like mother, like son.
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05:35
I grew up in a house full of photographs.
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Ja sam odrastao u kući punoj fotografija.
05:38
They were everywhere, and my mother
would turn the kitchen into a darkroom.
would turn the kitchen into a darkroom.
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Bilo ih je svuda, i moja majka
bi pretvorila kuhinju u mračnu komoru.
bi pretvorila kuhinju u mračnu komoru.
Tu nije bilo samo slika
koje je ona pravila
koje je ona pravila
05:42
And there weren't
just pictures that she took
just pictures that she took
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i slika članova porodice,
05:45
and pictures of family members.
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već je na zidovima bilo i slika
ljudi koje nismo poznavali,
ljudi koje nismo poznavali,
05:46
But there were pictures on the wall
of and by people that we didn't know,
of and by people that we didn't know,
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05:51
men and women that we didn't know.
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muškaraca i žena koje nismo poznavali.
05:53
Thanks, ma.
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Hvala, mama.
05:54
(Laughter)
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(Smeh)
05:55
I have my own timing.
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Ja imam svoj tajming.
05:56
(Laughter)
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(Smeh)
Da li ste videli kako me je gurnula?
05:58
Did you see her poke me?
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05:59
(Laughter)
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(Smeh)
06:01
Puppet strings.
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Marioneta.
(Smeh)
Odrastao sam u kući punoj fotografija.
06:06
I grew up in a house full of photographs.
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06:08
(Applause)
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(Aplauz)
Ali one nisu bile samo slike
muškaraca i žena koje smo poznavali,
muškaraca i žena koje smo poznavali,
06:11
But they weren't just pictures
of men and women that we knew,
of men and women that we knew,
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06:14
but pictures of people that I didn't know,
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već i slike ljudi koje nisam znao,
Zapravo, bilo je prilično jasno
po onome što sam učio u školi
po onome što sam učio u školi
06:17
Pretty much, it was pretty clear
from what I learned in school,
from what I learned in school,
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da ih ni ostatak sveta nije znao.
06:20
that the rest of the world didn't either.
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06:23
And it took me a long time
to figure out what she was up to,
to figure out what she was up to,
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Trebalo mi je dosta vremena
da shvatim šta to ona sprema,
da shvatim šta to ona sprema,
06:26
but after a while, I figured it out.
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ali nakon nekog vremena, shvatio sam.
06:30
When I was nine years old,
she published this book,
she published this book,
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Kada sam imao devet godina,
objavila je knjigu
objavila je knjigu
„Crni fotografi, 1840-1940:
Bio-bibliografija“.
Bio-bibliografija“.
06:32
"Black Photographers, 1840-1940:
A Bio-Bibliography."
A Bio-Bibliography."
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06:36
And it's astounding to me to consider
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Zapanjuje me kad pomislim
06:39
that in 1840, African Americans
were making photographs.
were making photographs.
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da su 1840. godine
Afroamerikanci pravili fotografije.
Afroamerikanci pravili fotografije.
06:43
What does it mean for us to think
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Šta to za nas znači kada pomislimo
06:44
that at a time that was two, three decades
before the end of slavery,
before the end of slavery,
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da su dve, tri decenije
pre završetka ropstva
pre završetka ropstva
06:49
that people were learning how to read,
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ljudi učili da čitaju,
06:52
they had to learn how to do math,
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morali su da nauče matematiku,
06:54
they had to be on the cutting edge
of science and technology,
of science and technology,
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morali su da budu u toku
sa razvojem nauke i tehnologije,
sa razvojem nauke i tehnologije,
06:57
to do math, physics and chemistry
just to make a single photograph.
just to make a single photograph.
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da se bave matematikom, fizikom i hemijom
da bi stvorili jednu jedinu fotografiju.
da bi stvorili jednu jedinu fotografiju.
07:02
And what compelled them
to do that if not love?
to do that if not love?
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A šta ih je navelo da učine to
ako nije ljubav?
ako nije ljubav?
07:05
Well, that book led her to her next book,
"Black Photographers, 1940-1988,"
"Black Photographers, 1940-1988,"
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Ta knjiga je vodila njenoj drugoj knjizi,
„Crni fotografi, 1940-1988“,
„Crni fotografi, 1940-1988“,
07:10
and that book led to another book,
and another book, and another book,
and another book, and another book,
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a ta knjiga je vodila još jednoj knjizi,
i još jednoj knjizi, i još jednoj knjizi,
i još jednoj knjizi, i još jednoj knjizi,
07:15
and another book, and another book,
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i još jednoj knjizi, i još jednoj knjizi,
i još jednoj knjizi, i još jednoj knjizi,
07:17
and another book, and another book,
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07:19
and another book, and another book,
and another book, and another book,
and another book, and another book,
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i još jednoj knjizi, i još jednoj knjizi,
i još jednoj knjizi, i još jednoj knjizi,
i još jednoj knjizi, i još jednoj knjizi,
07:22
and another book, and another book,
and another book, and another book,
and another book, and another book,
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i još jednoj knjizi, i još jednoj knjizi,
i još jednoj knjizi,
i još jednoj knjizi, i još jednoj.
i još jednoj knjizi, i još jednoj.
07:25
and another book,
and another book, and another.
and another book, and another.
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07:28
(Applause)
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(Aplauz)
07:29
And throughout my life,
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Tokom celog mog života,
07:31
she's edited and published dozens of books
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uređivala je i objavljivala
na desetine knjiga
na desetine knjiga
07:34
and curated numerous exhibitions
on every continent,
on every continent,
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i organizovala bezbroj izložbi
na svakom kontinentu.
na svakom kontinentu.
Nisu sve bile o crnim fotografima,
ali su sve bile inspirisane znatiželjom
ali su sve bile inspirisane znatiželjom
07:39
not all about black photographers
but all inspired by the curiosity
but all inspired by the curiosity
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male crne devojčice
iz Severne Filadelfije.
iz Severne Filadelfije.
07:42
of a little black girl
from North Philadelphia.
from North Philadelphia.
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DV: Ono što sam otkrila
je da su crni fotografi
je da su crni fotografi
07:45
DW: What I found is that
black photographers had stories to tell,
black photographers had stories to tell,
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imali priče da ispričaju,
i trebalo je da ih slušamo.
i trebalo je da ih slušamo.
07:48
and we needed to listen.
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07:51
And then I found and I discovered
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A onda sam pronašla
i otkrila crne fotografe
i otkrila crne fotografe
07:52
black photographers
like Augustus Washington,
like Augustus Washington,
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kao što je Ogastus Vašington,
koji je pravio prelepe dagerotipije
07:55
who made these beautiful daguerreotypes
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07:57
of the McGill family
in the early 1840s and '50s.
in the early 1840s and '50s.
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porodice Mekgil
ranih 1840-ih i 50-ih godina.
ranih 1840-ih i 50-ih godina.
Njihove priče su nekako bile drugačije,
priče crnih fotografa,
priče crnih fotografa,
08:02
Their stories tended to be different,
black photographers,
black photographers,
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08:04
and they had a different narrative
about black life during slavery,
about black life during slavery,
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i imale su drugačiji narativ
o životu crnaca tokom ropstva,
o životu crnaca tokom ropstva,
08:08
but it was also about family life, beauty
and telling stories about community.
and telling stories about community.
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ali su bile i o porodičnom životu, lepoti,
i pričale su priče o zajednici.
i pričale su priče o zajednici.
08:13
I didn't know how to link the stories,
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Nisam znala kako da ih povežem,
08:16
but I knew that teachers
needed to know this story.
needed to know this story.
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ali sam znala da je potrebno
da nastavnici znaju njihove priče.
da nastavnici znaju njihove priče.
08:19
HWT: So I think I was
my mother's first student.
my mother's first student.
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HVT: Mislim da sam bio majčin prvi učenik.
08:24
Unwillingly and unwittingly --
puppet strings --
puppet strings --
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Nevoljno i nesvesno - marioneta -
08:27
I decided to pick up a camera,
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odlučio sam da uzmem fotoaparat,
i smatrao sam da treba
da napravim svoje slike
da napravim svoje slike
08:30
and thought that I
should make my own pictures
should make my own pictures
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08:32
about the then and now
and the now and then.
and the now and then.
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o nekada i sada, i o sada i nekada.
08:35
I thought about
how I could use photography
how I could use photography
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Razmišljao sam o tome kako mogu
da upotrebim fotografiju
da upotrebim fotografiju
08:38
to talk about how what's going on
outside of the frame of the camera
outside of the frame of the camera
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da ispričam o tome kako ono
što se dešava izvan okvira fotografije
što se dešava izvan okvira fotografije
može da utiče na ono
što vidimo unutar okvira.
što vidimo unutar okvira.
08:41
can affect what we see inside.
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08:44
The truth is always in the hands
of the actual image maker
of the actual image maker
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Istina je uvek u rukama
onoga ko pravi slike,
onoga ko pravi slike,
08:47
and it's up to us to really consider
what's being cut out.
what's being cut out.
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a na nama je da razmotrimo
šta je izostavljeno.
šta je izostavljeno.
Pomislio sam da mogu
da iskoristim njeno istraživanje
da iskoristim njeno istraživanje
08:50
I thought I could use her research
as a jumping-off point
as a jumping-off point
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kao početnu tačku
za ono što vidim u društvu
za ono što vidim u društvu
08:53
of things that I was seeing in society
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i počeo sam da razmišljam o tome
kako da iskoristim istorijske slike
kako da iskoristim istorijske slike
08:55
and I wanted to start to think
about how I could use historical images
about how I could use historical images
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da pričam o prošlosti koja je prisutna
08:58
to talk about the past being present
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09:01
and think about ways that we can speak
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i da pronađem načine da se obratimo
09:03
to the perennial struggle
for human rights and equal rights
for human rights and equal rights
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višegodišnjoj borbi
za ljudska prava i ravnopravnost,
za ljudska prava i ravnopravnost,
09:07
through my appropriation of photographs
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kroz moje iskazivanje fotografija
u formi skulpture, videa,
instalacija i slika.
instalacija i slika.
09:11
in the form of sculpture, video,
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09:14
installation and paintings.
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09:15
But through it all,
one piece has affected me the most.
one piece has affected me the most.
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Ali prolazeći kroz sve to,
jedno delo je uticalo na mene najviše.
jedno delo je uticalo na mene najviše.
09:20
It continues to nourish me.
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I nastavlja da me ispunjava.
09:21
It's based off of this photograph
by Ernest Withers,
by Ernest Withers,
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Zasnovano je na ovoj fotografiji
Ernesta Vidersa,
Ernesta Vidersa,
09:24
who took this picture in 1968
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koji je napravio
tu fotografiju 1968. godine
tu fotografiju 1968. godine
09:26
at the Memphis Sanitation Workers March
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na protestu zdravstvenih
radnika u Memfisu,
radnika u Memfisu,
09:29
of men and women standing collectively
to affirm their humanity.
to affirm their humanity.
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sliku muškaraca i žena koji stoje zajedno
kako bi potvrdili svoju ljudskost.
kako bi potvrdili svoju ljudskost.
Držali su znakove
na kojima je pisalo „Ja sam čovek“.
na kojima je pisalo „Ja sam čovek“.
09:33
They were holding signs
that said "I am a man,"
that said "I am a man,"
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09:36
and I found that astounding,
because the phrase I grew up with
because the phrase I grew up with
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To me je zapanjilo,
jer fraza sa kojom sam ja odrastao
jer fraza sa kojom sam ja odrastao
09:39
wasn't "I am a man,"
it was "I am the man,"
it was "I am the man,"
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nije bila „Ja sam čovek“
već je bila „Ja sam veliki čovek“.
već je bila „Ja sam veliki čovek“.
09:42
and I was amazed at how it went from this
collective statement during segregation
collective statement during segregation
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Bio sam oduševeljen time kako je prerasla
od kolektivne izjave tokom segregacije
od kolektivne izjave tokom segregacije
09:46
to this seemingly selfish statement
after integration.
after integration.
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u tu naizgled sebičnu izjavu
nakon integracije.
nakon integracije.
09:50
And I wanted to ponder that,
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Hteo sam da promislim malo o tome,
09:52
so I decided to remix that text
in as many ways as I could think of,
in as many ways as I could think of,
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i odlučio sam da izmešam taj tekst
na koliko god načina je moguće.
na koliko god načina je moguće.
09:55
and I like to think of the top line
as a timeline of American history,
as a timeline of American history,
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Volim da zamislim prvi red
kao vremenski prikaz američke istorije,
kao vremenski prikaz američke istorije,
10:00
and the last line as a poem,
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a poslednji red kao pesmu,
10:03
and it says,
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i ona kaže:
10:04
"I am the man. Who's the man.
You the man. What a man.
You the man. What a man.
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„Ja sam čovek. Ko je čovek.
Ti si čovek. Kakav čovek.
Ti si čovek. Kakav čovek.
10:07
I am man. I am many. I am, am I.
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Ja sam čovek. Ja sam mnogi.
Ja sam, da li sam.
Ja sam, da li sam.
10:10
I am, I am. I am, Amen.
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Ja sam, ja sam. Ja sam, amin.“
10:12
DW: Wow, so fascinating.
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DV: Uh, tako fascinantno.
10:14
(Applause)
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(Aplauz)
10:16
But what we learn from this experience
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Ali ono što smo naučili iz ovog iskustva
10:18
is the most powerful two words
in the English language is, "I am."
in the English language is, "I am."
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je da su dve najmoćnije reči
u engleskom jeziku „ja sam“.
u engleskom jeziku „ja sam“.
10:21
And we each have the capacity to love.
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I kako svi imamo sposobnost da volimo.
10:24
Thank you.
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Hvala vam.
10:25
(Applause)
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(Aplauz)
ABOUT THE SPEAKERS
Deborah Willis - Curator, photographerDeborah Willis is a photographer and writer in search of beauty.
Why you should listen
As an author and curator, Deborah Willis's pioneering research has focused on cultural histories envisioning the black body, women and gender. She is a celebrated photographer, acclaimed historian of photography, MacArthur and Guggenheim Fellow, and University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University.
Willis received the NAACP Image Award in 2014 for her co-authored book Envisioning Emancipation: Black Americans and the End of Slavery (with Barbara Krauthamer) and in 2015 for the documentary Through a Lens Darkly, inspired by her book Reflections in Black: A History of Black Photographers 1840 to the Present.
Deborah Willis | Speaker | TED.com
Hank Willis Thomas - Artist
Hank Willis Thomas is a conceptual artist working primarily with themes related to identity, history and popular culture.
Why you should listen
Hank Willis Thomas's work has been exhibited throughout the U.S. and abroad including, the International Center of Photography, Guggenheim Museum Bilbao, Musée du quai Branly, and the Cleveland Museum of Art. His work is in numerous public collections including the Museum of Modern Art New York, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Brooklyn Museum, the High Museum of Art and the National Gallery of Art in Washington DC, among others.
Thomas's collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), and For Freedoms. For Freedoms was recently awarded the 2017 ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the 2017 Soros Equality Fellowship and the 2017 AIMIA | AGO Photography Prize. Current exhibitions include Prospect 4: The Lotus in Spite of the Swamp in New Orleans and All Things Being Equal at Zeitz Museum of Contemporary Art Africa. In 2017, Thomas also unveiled his permanent public artwork "Love Over Rules" in San Francisco and "All Power to All People" in Opa Locka, Florida. Thomas is a member of the Public Design Commission for the City of New York. He received a BFA in Photography and Africana studies from New York University and an MFA/MA in Photography and Visual Criticism from the California College of Arts. He has also received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. He lives and works in New York City.
Hank Willis Thomas | Speaker | TED.com