This document records the full discussion thread for the LEH 353 (Studies in the Arts) class unit on Representation & Authenticity, held in Spring 2026 at Lehman College. The instructor, Brian McCormick, prompted students to select one or more works from a curated list of photographers and multimedia artists (including Dawoud Bey, Corky Lee, Pepón Osorio, Deana Lawson, Meriem Bennani, Jamel Shabazz, LaToya Ruby Frazier, among others) and reflect on what the works made them think or feel, how they connect personally, and what broader artistic or cultural resonances they perceive. Students submitted individual reflections that reveal personal connections to themes of cultural identity, diaspora, community history, and the politics of representation. Common motifs include: photography as an archive of marginalized communities; the activist impulse behind image‑making; the emotional impact of seeing everyday Black, Asian, Latino, or immigrant life rendered with intimacy; the tension between personal memory and collective history; and the role of humor or performance in challenging stereotypes. The instructor repeatedly responded, reinforcing the pedagogical goals: emphasizing that authentic representation arises when artists tell stories from within their communities, that art can serve as a corrective to omitted histories, and that the act of viewing can foster empathy and critical self‑reflection. Specific artist‑specific commentary highlights: Corky Lee’s “photographic justice” and his reconstruction of the trans‑continental railroad image; Dawoud Bey’s archival portraiture of NYC youth; Pepón Osorio’s “Home Visit” and “Scene of the Crime” installations that juxtapose Bronx realities with elite museum spaces; Deana Lawson’s intimate Black family portraits that counter stereotypes; Meriem Bennani’s comedic, social‑media‑infused work navigating bicultural identity; Jamel Shabazz’s celebration of Black childhood joy; LaToya Ruby Frazier’s personal documentary of environmental racism and health inequity. Overall, the thread illustrates how students negotiate personal experience with scholarly concepts of representation, authenticity, and activism, while the instructor scaffolds these insights toward deeper critical engagement with visual culture.
Topics
Student Personal Connections to Photographic Representation
Students describe how specific photographs or installations evoke personal memories, cultural identity, or emotional responses, linking their own lived experience to the artwork.
Art as Activist Archive: Community Histories in Photography
Discussion of how artists like Dawoud Bey, Corky Lee, and LaToya Ruby Frazier use photography to document and preserve marginalized communities, correcting omissions in mainstream historical narratives.
Cultural Identity and Diaspora in Multimodal Works
Examination of works by Meriem Bennani, Pepón Osorio, and Deana Lawson that foreground immigrant, bicultural, and Black diaspora experiences, often employing humor, performance, or intimate portraiture.
Instructor Framing of Authenticity and Representation
Brian McCormick’s responses that reinforce key course concepts—authentic self‑representation, the ethical responsibilities of the photographer, and the power of art to foster empathy and social critique.
Specific Artistic Strategies Highlighted in the Thread
Mentions of concrete artistic tactics such as Corky Lee’s reconstruction of historical photographs, Shabazz’s candid street lighting, Osorio’s site‑specific installations, and Lawson’s staged yet intimate family scenes.