A newly digitized collection of photographs offers a window into the daily lives of African Americans from the era of slavery to the 1960s. Earlier this month, Cornell University Library uploaded over 600 seldom-seen images from its Loewentheil Collection of African-American Photographs, which is part of a greater gift from Beth and Stephan Loewentheil in 2012 that comprised over 16,000 photographs. The digitization coincides with Black History Month, and although the timing was not deliberate, one of the library’s goals in sharing the images is to push back against the large amount of material that portrays African Americans as slaves or working unskilled jobs. The photographs bring to light relatable scenes such as children at play, neighbors dancing, and friends bonding over activities from sports to music making.
“The African American photographs within the larger Loewentheil photography collection are unquestionably important, and we’ve been working on their digitization and description for some time,” Katherine Reagan, the Cornell library’s curator of rare books and manuscripts, told Hyperallergic. “It’s essential that library and archival collections document as broad a range of American history as possible, so students, scholars, and the public can study and learn from these collections and see their own histories reflected there.”
Most of the people in the Loewentheil Collection pictures are unidentified, with only handwritten captions or labels providing bits of information. The collection includes some shots from the studio of Mathew Brady, but for the most part, the photographers, too, are little-known. Clicking through the images reveals traces of intimacy: portraits of mothers with babies, women cooking for unseen others, a man holding up a baby to pose for a studio portrait. But ominous pictures turn up in the mix as well; most jarring are the scenes of lynchings, and one of white students punching an effigy of a black man in 1957.
“We elected to present the collection as it arrived, in all of its rich, fascinating, complicated, and — in a few cases — painful and disturbing elements, rather than suppress or censor specific images,” Reagan said. “The collection is still in pilot phase. In the future, we expect to add a more expanded introduction that will put the collection in greater context.”
The expressions, gestures, clothing, and other details of the pictures’ subjects are captivating alone, but it’s also interesting to note the variety of photographic processes represented in the collection. Digitized now are cartes de visite, stereoviews, hand-painted tintypes, cyanotypes, and daguerreotypes. Many examples of the last were carefully preserved in ornamental, portable cases. They remind us that someone once dearly cherished these photographs for reasons that have since been lost.
From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
Every corner and crevice of Columbia University’s MFA Thesis show feels lived in, reflecting not just artists’ experience quarantining with their work, but also that of re-entering society.
Curated by Clare Dolan, this solo exhibition in Frenchtown, NJ contains new and unearthed paintings, sculptures, and prints selected from the organization’s 60-year history.
Sprawling across the Joshua Tree region, nine site-specific works consider the ways in which people have relocated to the desert, destroying what came before them, and cultivating new life.
The rendition could be a platform for essential conversations on sociohistorical and economic land rights issues.
Conversations with Leslie Barlow, Mary Griep, Alexa Horochowski, Joe Sinness, Melvin R. Smith, and Tetsuya Yamada will be accessible online or in person at the Minneapolis College of Art and Design.
The UK has long refused to return the contested sculptures, which were stripped from the Parthenon in the 1800s.
The National Gallery of Art launched a new artwork guessing game inspired by the super-popular Wordle.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
The union said that grass hedges were erected around the entrance, blocking the gala’s guests from seeing the protest outside.
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
The artist couple shared creativity and mutual devotion reflecting a period of light and joy that came after considerable darkness in their early lives.