I didn’t have the chance to discuss this photograph of Anna May Wong wearing a hat referencing the one worn by Neferetiti in her famous portrait bust in my recent talk about Egyptomania and fashion — and I don’t even know why Wong was photographed wearing it — but it’s such a great image so I couldn’t resist acknowledging it in some public manner.
Black sartorial splendor! I will be chronicling how blackness influenced style in my book. Wish me luck finishing it this summer.
Duke’s Satorial Style Was as Elegant as his Music
Magic Moments at Duke’s Place
On April 29, 1999, the centennial of the birth of Edward Kennedy “Duke” Ellington, I sat outside the elegant brick and stone building on ST. Nicholas avenue, in the Sugar Hill section of Harlem, and listened to some sonic gems from the late jazz master’s copious musical ouvre, a repertoire that includes over 2000 compositions. Now a national historical landmark, the unassuming and well kept little building was the site of many of the Duke’s numerous compositions about his beloved Harlem.
Sitting outside Duke’s crib, listening to “Take The A Train,” “Harlem Airshaft,” and “Black, Brown and Beige Suite,” I could feel his presence; and it resurrected memories of an enchanted evening I once spent with him in his downtown digs back in the early seventies, when the master was in the twilight of his wonderful…
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I am tracking this project closely as this is a related sphere to my research on the US and France that has yet to receive much attention.
As our recent blog post shows, our contact with Nyay Bhushan, the great grandson of Vasu Deva Sharma, has been a fantastic opportunity for us to find out about Sharma’s migratory history and learn more about Sharma’s experiences of life as a Royal College of Art student in interwar London. We’ve created a select list of students and artist’s models all based in London during the period we are researching. If you have any information, no matter how small, about any of these individuals or the artworks they created please feel free to contact us at firstname.lastname@example.org
Students from Africa and Asia at London-based art schools:
- Egyptian student Aimee Nimr at Slade School of Fine Art School of Fine Art during 1919
- Nigerian student Aina Onabolu at St. John’s Wood Art School during 1922
- Indian student Meher Bomansha Dalal at the Slade School of Fine Art School of Fine Art…
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My CAA talk went very well according to the feedback that I received. I focused on how shadows assumed a new expressive role as a racial metaphor in modernist photography. I previously shared some of the images that I was considering. Here are some of the ones that were included in my presentation:
A made particular note of the fact that shadows ultimately acquired their own autonomy in images like this:
Anyone trying to study the role of shadow in visual representation will not find much. Victor Stoichita and Michael Baxandall have written books on the topic, plus a few articles exist. That is why I am eagerly anticipating the publication of a new book called The Cinema and Its Shadow by Alice Maurice. Not only does it deal with shadows and race, it focuses on light-based media and its formal qualities:
Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema.
This is how I approach the photographic medium. The inherent nature of the medium and its means of formal expression relies upon a race for its coherence.
I am still working on my presentation for CAA. I came across this interesting photograph of Ruby Keeler, a dancer, and one-time wife of Al Jolson, with a dance partner:
Note how the shadows operate independently of the people they are meant to reflect as in Fred Astaire’s “Bojangles in Harlem” number in Swing Time (1935) that I have mentioned in an earlier post.
It’s CAA time and I am participating in a panel called “Photography and Race.” My talk is about race and modernism in interwar photography. One key phenomenon that I have noted is that lighting and shadow take on a metaphoric role beyond their descriptive function that gives visual expression to the period’s racial imagination in new ways. Older notions of race as biology and blackness and whiteness as material properties of the body are supplanted with more elusive codes that reside in the darkness and the light. That is not to say that move traditional means of visualizing race entirely disappear but the burden of representation is removed from the body in subtle but significant ways that allow for the articulation of changing racial paradigms. The preponderance of these shadows that limn blackness makes it difficult to select which images to show in my fifteen minutes. What a dilemma! Here are some of my current objects of fascination:
This is a portrait of the actress Anna May Wong in tuxedo drag taken by Carl Van Vecthen in 1932. This image is the cornerstone of the introduction to Afrochic, the magnum opus that I hope to complete soon. I argue that this type of photographic portrait and its attendant racial dynamics is emblematic of the ways that moderns constructed their identity between the Two Worlds Wars. Intrigued…stay tuned!
Since I will never be able to include all the images that I would like into the final manuscript, I will share some of my favorites here as I work towards the completion of the manuscript.
This is an topic that I am very intrigued by. I am familiar with a couple of black entertainers that spent time in London during the Jazz Age (i.e. Paul Robeson, Florence Mills…) but I had not previously come across research on blacks who were members of the Commonwealth who lived in London during this period in the manner that Black Paris and the Negro Colony is discussed. Of course we have learned that black jazz entertainers circulated throughout Europe but that information is elusive at best. So I hope that this project endures and flourishes.
Of course if a lot of information were available I would want to include it in my book and I already have too much information to contend with dealing with New York, and its satellite in Paris (with a bit of a detour to Hollywood, and even Taos…)
Nancy Cunard is the main figure of English origin included in my dramatis personae but she spends most of this time based in Paris. I am trying to restrict myself to the Man Ray portraits of her but there are some important photographs by Cecil Beaton and Curtis Moffat that will require a mention. I justify their inclusion because of the network of fashion/celebrity/glamour photographers that Man Ray is part a of, with an obligatory connection to Carlo (Carl Van Vechten–he knows everyone LITERALLY).
Anna May Wong spends time in London but it is the portraits taken by Carlo and her Hollywood experiences that are most concern to me. (At present…)
We’ve recently created the first of a series of postcards and maps highlighting some of the artwork and histories which touch upon the themes of Drawing over the Colour Line. The postcard created is a reproduction of William Roberts’ 1923 The Creole, a portrait of a woman called Hélène Yelin who lived near Bloomsbury and was a friend of the Roberts family – we’ll be blogging more about her in the next few months. We’ve also used this image as the front of our new walking tour leaflets entitled ‘A Walk Around Bloomsbury’.
The tour explores the black presence in Bloomsbury during 1919-1939 in relation to London’s artworld and focuses on places and spaces connected to individuals and organisations including African-American musician and performer Florence Mills, artists Nina Hamnett and Duncan Grant who created artworks depicting Black Londoners, Harold Moody, Jamaican doctor and President of the League of Coloured Peoples set…
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In honor of Mr. Davis’s birthday, I present this comparison that I have been pondering since I stumbled across this image of Davis (top) on the web. Mr. Davis performing Mr. Bojangles here is an intriguing counterpoint to my discussion of Fred Astaire’s “Bojangles in Harlem” number in Swing Time (1936). [Props to Elizabeth Abel’s “Shadows” essay in Representations, of course] Davis’ adoption of Mr. Bojangles as signature song speaks back to Astaire’s racial masquerade/homage to Bill Robinson in forceful ways that I don’t yet know if I will include in my book. To be continued, perhaps…
Snippet of Astaire’s performance:
An exhibition that I wish I could see:
Bel Geddes designs were very influential on the style of Jazz Age. A little known aspect of his career: the 1922 design of the interior of Palais Royal Cabaret where Paul Whiteman and his Orchestra performed.
George S. Kaufman dubbed the Cabaret “the Geddes triumph,” asserting that it “proved. . . that art and the night places can go hand in hand.”
The venue later became The Cotton Club when it moved downtown.
[Shout out to my colleague Sandy Isenstadt who contributed to the catalogue!]