Gordon Parks Press

Harvard Gazette: ‘Bringing art to the people it depicts’

May 6, 2019
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.
Gordon Parks Press

Harvard Gazette: ‘The work of culture alters our perceptions’

April 29, 2019
Launched to consider the roles of art and culture in establishing the narratives of people of color, the conference was inspired by a course taught by Sarah Lewis ’97, assistant professor of history of art and architecture and African and African American studies, who also moderated parts of the event.

Artslant Magazine: 'Mint Tea, Gossip, and Celebration'

November 7, 2018
Wole Soyinka is someone to celebrate.  Africa's most acclaimed writer, dramatist, poet, novelist, "writer of genius", politico activist who spent 22 months as prisoner of conscience and, for the most part has transcended negativity in a host of camps. He’s been iconic across the board, with his mad hair, quick, hip wit, and his work, which will be along …a long time. His is uncommon work, perhaps monumental.

Boston Globe: 'Harvard's Cooper Gallery updates the blackamoor'

April 18, 2018

‘ReSignifications,” at the Ethelbert Cooper Gallery of African & African American Art, is a pointed object lesson. What can we learn from blackamoors, the servile black figures in art history? 

Thirty-six blackamoor statues, mostly made in the 18th and 19th centuries, reside in New York University’s Villa La Pietra, a historic home housing an art collection in Florence. Curator Awam Amkpa invited an international slate of artists to respond to these figures for a 2015 exhibition there.

Read more about Boston Globe: 'Harvard's Cooper Gallery updates the blackamoor'

Wicked Local Cambridge: 'Around Cambridge'

March 27, 2018
The Cooper Gallery’s spring 2018 exhibition “ReSignifications” links classical and popular representations of African bodies in European art, culture and history as it interprets and interrogates the “Blackamoor” trope in Western culture that emerged at the intersection of cross-cultural encounters shaped by centuries of migration, exchange, conquest, servitude and exile.