Father’s Day this year fell on Juneteenth, the traditional celebration of Black American emancipation and the newest federal holiday in the United States. George Washington University’s Imani Cheers has long seen this confluence as an opportunity. In 2020, she intentionally chose that weekend as the opening date for an exhibition on positive images of Black men, for which Cheers, a trained photographer, originally planned to travel and take portraits.
Over the years since its inception, however, Cheers said she began to feel it was more important for the show to spotlight Black male artists’ visions of their own peers and communities. As an artist, as an academic, and particularly as a mother, Cheers said, her goal became “to crowdsource and curate” positive, layered images of Black men for her own son — images created by the Black men who are his potential mentors, role models, and community members.
That project is now Framing Fatherhood, a photojournalism exhibition hosted by the Corcoran School of the Arts and Design that celebrates visions of Black masculinity through the lens of 14 Black male artists. Framing Fatherhood is an extension of It Takes a Village: Basics of Boyhood and Messages of Manhood, Cheers’s ongoing media project exploring the representation and reality of Black men as children, adults, friends, partners, and parents.
“We know, unfortunately, that being Black in America is a challenging space… so when I’m raising my son in an American context, I have to consciously make sure that he knows that he is loved and valued,” said Cheers, who is interim senior associate provost for undergraduate education as well as an associate professor of media and public affairs in the School of Media and Public Affairs. “The purpose of this exhibition is for him to be uplifted by and reminded of the good that I already know exists.”
For more information, visit boyhood2manhood.com.
Framing Fatherhood is free and open to the public until July 31, Wednesdays through Sundays from 1–6pm at the Corcoran School of the Arts and Design, 500 17th Street NW in Washington, DC.
This week, missed signs of previous life on Mars, the appeal of forged art, and why are blue whales singing in lower octaves?
All the Beauty and the Bloodshed forcefully posits multiple parallels between the world Nan Goldin grew up in and the one she fights in today.
The latest episode of this documentary series on PBS explores the meaning of home through handmade objects, hand built homes, and the artists who create them.
Your list of must-see, fun, insightful, and very Los Angeles art events this month, including Bob Thompson, Aimee Goguen, Uta Barth, the Transcendental Painting Group, and more.
There is the singular artist and then there is the more exclusive club that has only one member. Harvey belongs to the latter.
Rhode Island School of Design opens registration for its residential summer Pre-College program and year-round online intensive Advanced Program Online.
The artists say the Museum of Contemporary Art Kiasma must sever ties with Poju Zabludowicz, whose wealth comes in part from Israeli defense contracting.
Vanessa Albury, whose eco-friendly ceramic sculptures help revive filter-feeder populations, is raising funds to complete her first film about the project.
Hrag Vartanian, Hyperallergic’s editor-in-chief, is one of the guest jurors reviewing applications for the two-month residency in Utica, New York.
An archeological exploration of the amphitheater’s sewers and water systems uncovered remnants of meat, vegetables, olives, nuts, and yes, pizza.
At this year’s show, I reflected on the lack of bilingual materials, the absurdity of art-fair gimmick, and the workers who make it all possible.
Hear a band of improvisers led by Rajna Swaminathan and a performance of Morton Feldman’s “For John Cage” in programs inspired by the exhibition, “New York: 1962-1964.”
Your list of must-see, fun, insightful, and very New York art events this month, including art made during the first stock market crash, a homage to feline friends, and the 10-year anniversary of a crucial public art initiative.
Astrid Dick was told that she could not paint stripes because Sean Scully and Frank Stella have done so before her, a patently foolish statement.