This event has been postponed in response to public health concerns but we hope to reschedule for a later date. Check back for updated information.https://www.eventbrite.com/e/romare-bearden-cinque-artist-series-at-harlem-school-of-the-arts-tickets-96084313769
I will be having a conversation with Liz Way from the Museum at FIT about the Harlem Renaissance and fashion. Join us on March 24th at the Harlem School of the Arts!
Harlem during the Jazz Age was renown for the style of its denizens. The twenties was a time of radical transformation for clothing, and Harlem was at the cutting edge of new trends, influencing mainstream fashion and culture in unprecedented ways. This conversation will examine what people wore during the Harlem Renaissance and beyond, from flapper dresses to Zoot suits. The style of fashionable Harlemites has had a lasting influence on fashion and is still felt today.https://www.eventbrite.com/e/romare-bearden-cinque-artist-series-at-harlem-school-of-the-arts-tickets-96084313769
“Harlem: Found Ways” is a new exhibition opening today at The Cooper Gallery at Harvard University that “presents artistic visions and engagements specific to Harlem, New York City, in the last decades.” Check it out if you are in Cambridge this summer!
And, look for an essay by yours truly in the exhibition catalogue reflecting on Dawoud Bey’s two important photographic series Harlem, U.S.A. and Harlem Redux, selections of which are featured in the show. These preview photos are courtesy of Dawoud.
Eighty years ago this month, an anthropologist named Katherine Dunham made her New York City dance debut at the 92nd Street Y. The 28 year old Chicago native choreographed and performed with her own company of dancers as part of “A Negro Dance Evening” organized by fellow dancers Edna Guy and Allison Burroughs. Born in […]
Check out this exhibition Let Us March On: Lee Friedlander and the Prayer Pilgrimage for Freedom at the Yale University Art Gallery curated by my former student, La Tanya Autry.
The Prayer Pilgrimage for Freedom, a virtually forgotten civil rights gathering at the Lincoln Memorial in Washington, DC on May 17, 1957, was photographed by Lee Friendlander.
This look back can hopefully provide inspiration for our trying times…
Having spent several summers in Accra, I was delighted to learn about the incredible photographer, James Barnor, who operated the Ever Young studio in Jamestown. Autograph mounted an exhibition of his work: http://autograph-abp.co.uk/exhibitions/james-barnor-ever-young and an accompanying monograph has been published of his work. He has visited the US for the first time and spoke at the Schomburg Center for Research in Black Culture.
The Museum’s New York World’s Fair collections continue to be a major resource for researchers all over the globe, and past research inquiries span a broad range of subjects, including: small format cinema technology, Cleveland artists who exhibited at the 1939 American Art building, and the Fair’s poetry contest. The Museum first shared information about these collections in January 2013, shortly after learning we had received funding from Council on Library and Information Resources (CLIR) to embark upon a collaborative 18-month project with the Queens Museum of Art to make our collections from both the 1939/40 and 1964/65 New York World’s Fairs more accessible as a result of a generous grant from the Council on Library and…
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Prepping a talk on F. Holland Day for a symposium. Here is my co-panelist, Shawn Michelle Smith’s take on him.
Shawn Michelle Smith reflects on F. Holland Day’s exotic look and intimate looking
In the spring of 1901, F. Holland Day arrived unannounced at Frederick Evans’s studio in London, wearing a burnoose. Evans invited him in to be photographed, and the two collaborated in making a series of intimate portraits of Day in Algerian dress.[i] The portraits correspond to the height of Day’s international prominence as promoter and practitioner of the New American School of photography, a movement devoted to establishing photography as an art form through Pictorialist aesthetics. After receiving mixed reviews in London, Day’s New American School exhibition was a huge success at the Photo-Club of Paris in the spring of 1901. The exhibition showcased the work of Clarence White, Edward Steichen, and Day himself, among others, and included images from Day’s sacred series and his so-called “Nubian” series. After the exhibition closed in Paris, Day and his young…
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While I am not opposed to the idea of re-incarnating Wilde from a African American perspective, I do find this poster questionable. This imagery is very reminiscent of the caricatured theatrical and entertainment venue ephemera of the interwar period when Harlem was in vogue, but racism and racialism very much alive. I know I suffer from racial paranoia when it comes to visual culture but all too often imagery that is meant to valorize African Americans is too reminiscent of pejorative imagery.