HHH #1 (2004)

Label

Fiona Foley’s powerful image depicts a group of colorfully robed and hooded figures she has named Hedonistic Honky Haters. By using the slang term honky, Foley deliberately reverses the concept of white-on-Black racial vilification espoused by the Ku Klux Klan (KKK). Similarly, the style of the bright textiles—which Foley created using beautifully printed fabrics she sourced from African import shops in Harlem during a residency in New York—inverts the symbolism of the white supremacist movement. Even while invoking ideas of racism and violence, the figures are aesthetically engaging, drawing us into a conversation about these difficult histories and the continued violence of white supremacy.

From the 2020 exhibition Shifting the Lens: Contemporary Indigenous Australian Photography, curated by Jami C. Powell, Curator of Indigenous Art

Course History

ANTH 3, Introduction to Cultural Anthropology, Sienna Craig, Summer 2013

WRIT 5, Memoirs of Family, Ellen Rockmore, Fall 2013

WGST 10, Sex, Gender, and Society, Giavanna Munafo, Fall 2013

WGST 37.2, GEOG 41, Gender, Space and Islam, Jennifer Fluri, Fall 2013

NAS 42, WGST 40, Gender Topics in Native American Life, Vera Palmer, Fall 2013

ANTH 31, WGST 36, Gender in Cross-Cultural Perspective, Lauren Gulbas, Fall 2013

NAS 42, WGST 40, Gender Topics in Native American Life, Vera Palmer, Fall 2013

SART 30, Photography II, Fall 2013

SART 29, Photography I, Fall 2013

WRIT 5, Poor Taste, William Boyer, Winter 2014

WGST 65, Queer Visual Culture, Gabriele Dietze, Winter 2014

COLT 67, AAAS 67, ENGL 54, WGST 52.1, Colonial and Postcolonial Masculinities, Ayo Coly, Winter 2014

SOCY 7.2, Race and Ethnicity, Emily Walton, Spring 2014

SART 17.9, The Photographer as Activist: Making Art Inspired by the Hood Museum's Collection, Virginia Beahan, Winter 2015

SOCY 7.1, Race and Ethnicity, Emily Walton, Winter 2015

WRIT 5, On Poor Taste, William Boyer, Winter 2015

SART 30, SART 75, Photography II and III, Virginia Beahan, Spring 2019

COCO 21, What's In Your Shoebox?, Francine A'Ness and Prudence Merton, Spring 2020

ANTH 03, Introduction to Cultural Anthropology, Sienna Craig, Summer 2020

Exhibition History

Focus on Photography, Works from 1950 to Today, Friends and Owen Robertson Cheatham Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 13-March 8, 2009.

No Laughing Matter: Visual Humor in Ideas of Race, Nationality, and Ethnicity, Harrington Gallery Teaching Exhibition, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, in conjunction with the Humanities Institute, Leslie Center for the Humanities, Dartmouth College, Hanover, New Hampshire, October 6-December 9, 2007.

Shadowplay: Transgressive Photography from the Hood Museum of Art, Owen Robertson Cheatham and Friends Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, August 10-December 8, 2013.

Shifting the Lens: Contemporary Indigenous Australian Photography, Luise and Morton Kaish Gallery, Hood Museum of Art, Dartmouth, Hanover, New Hampshire, February 15–June 21, 2020.

Publication History

Emily Shubert Burke, Focus on Photography, Works for 1950 to Today, Hanover, New Hampshire: Trustees of Dartmouth College, 2009, p. 18-19, no. 32.

Brian P. Kennedy and Emily Shubert Burke, Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2009 p.208, no.271.

Provenance

October Gallery, London, England; sold to present collection, 2007.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

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Subjects