"The photography of Zanele Muholi stopped me in my tracks years back as I made my way through the MFA. This new exhibit of their work at the Cooper Gallery, curated by Renée Mussai, is a must see. Muholi is both the photographer and the subject. Beyond the drama of the color contrast in their portraiture, Muholi fashions everyday items into objects that reckon with current and past systems of violence and disenfranchisement."
Frank Stewart learned young how to fail often with his camera.
A painter could spend days on a canvas only to realize the result was a “monstrosity,” the acclaimed photographer and artist said during a conversation with New York University Professor of Performance Studies Fred Moten ’84 at the Hutchins Center for African & African American Research’s Hiphop Archive last week.
"In terms of representation and volume, we have to work on both fronts," says Henry Louis Gates, Jr., director of the Hutchins Center for African and African American Research at Harvard University and board member of the Whitney Museum of Art. "The Whitney is never going to have only black art in it or the Met. For American culture to be represented, it must be integrated."
What does a Bronx-born hip hop producer and art collector have in common with one of the most iconic photojournalists of all time? Kasseem ‘Swizz Beatz’ Dean and Gordon Parks have both been gatekeepers of African-American narratives. Dean and his wife Alicia Keys, own the largest private holdings of Gordon Parks’s photography. A new exhibition, Gordon Parks: Selections from the Dean Collection, is on display at Harvard University’s Ethelbert Cooper Gallery into July 2019.
The water-slicked hand clawing up from beneath the waves feels urgent, panicked. Not very Gordon Parks, but I think that’s the point. The Ethelbert Cooper Gallery of African and African American Art at Harvard University is hosting a key sampling of the famed African-American photojournalist’s work from the collection of Kasseem Dean and Alicia Keys — dozens of pictures shot for Life and Vogue magazines, ranging from Harlem gangs and Malcolm X to fashion to celebrity portraits. But this is the one that gets me.
After seeing the Gordon Parks exhibit now showing at Harvard’s Ethelbert Cooper Gallery of African & African American Art, it was clear that the work has a lot to offer to children who may not be aware of this time period in history.
“WHAT HAS MORALITY WON US?” This provocative question, posed by Bryan Stevenson, a lawyer, activist, and professor at New York University School of Law, lingered in the room on the second day of the “Vision and Justice” conference at Harvard’s Radcliffe Institute for Advanced Study.
Kasseem Dean, known in the music world as Swizz Beats, was used to seeing Gordon Parks’ photographs in meetings with business partners and at the homes of friends who were not African American. It was far more unusual to see the artwork in front of the people Parks represented.
The music industry titans, who married in 2010, are proud art collectors and own the largest private collection of work by Parks, the renowned photographer who captured African-American life in the 20th century.