Madeleine Hunt-Ehrlich’s rich and often surreal works blend narrative and documentary to explore the private worlds of Black women. Rooted in archival and field research, Hunt-Ehrlich’s practice uses abstraction as a mode of resistance in depicting subjects deprived of self-autonomy under the exploitative gaze of the colonial camera.
Hunt-Ehrlich’s work has screened all over the world, including at the Solomon R. Guggenheim Museum and the Whitney Museum of Art in New York and in film festivals such as the New Orleans Film Festival, Doclisboa, and BlackStar Film Festival. She has been featured in Essence magazine, Studio Museum’s Studio magazine, ARC Magazine, BOMBLOG, Guernica, and Small Axe, among others. She was named as one of Filmmaker‘s “25 New Faces of Independent Film 2020” and is the recipient of a San Francisco International Film Festival 2020 Rainin Grant, a Rema Hort Mann Foundation 2019 Emerging Artist grant, a 2019 UNDO Fellowship and grant, a 2015 TFI/ESPN Future Filmmaker Award, and a 2014 Princess Grace Award. Her work has been recognized by the Time Inc. Black Girl Magic Emerging Director’s series and the National Magazine Awards, and she has received grants from the National Black Programming Consortium and Glassbreaker Films. Hunt Ehrlich has a degree in film and photography from Hampshire College and an MFA in film and media arts from Temple University. She is currently an assistant professor in film and television production at Queens College, City University of New York.
Romi Crawford (PhD) is professor in the Visual and Critical Studies and Liberal Arts departments at the School of the Art Institute of Chicago. Her research focuses on formations of racial and gendered identity in relation to American visual arts, film, and popular culture. She is co-author of The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017). She makes regular contributions to publications on contemporary art and American culture, including “Elements of the Gatesian Method: Contract Aesthetics, Black Bricks, and Extreme Collaboration,” in Land Art and Nothingness (Place Lab, 2018); “Reading Between the Photographs: Serious Sociality in the Kamoinge Photographic Workshop,” in Working Together: Louis Draper and the Kamoinge Workshop (Virginia Museum of Fine Arts, 2020); and the forthcoming Fleeting Monuments for the Wall of Respect (Green Lantern Press, 2021).