Traveling Full Circle ~ Frank Stewart's Visual Music PDF

Traveling Full Circle ~ Frank Stewart's Visual Music PDF

Traveling Full Circle ~ Frank Stewart's Visual Music PDF


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Best known as senior staff photographer for Jazz at Lincoln Center, <strong>Frank</strong> Stewart<br />

and his cameras have crisscrossed the world. This exhibition celebrates an artist on<br />

the road, and his discovery that his travels from the US to the Caribbean to Africa and<br />

back home are culturally circular journeys.<br />

With music as a constant inspiration, Stewart seeks cultural rhymes and resonant<br />

rhythms to unite the various sites of his photographic odyssey. There have been musicians<br />

at every turn of the compass; dancer-musicians whose movement gives the<br />

sound vision; and audience members whose participation makes the sound a communal<br />

ritual.<br />

Though music is not always Stewart’s subject, his photographs are all musical in spirit<br />

and form. In some cases, Stewart turns his camera to a roadhouse’s back-table where<br />

lovers are speaking low. Or to an outdoor scene where women who have risen with the<br />

sun perform their daily walk to fetch water—following what Stewart calls the “clock of<br />

the earth.” Sometimes the focus is on the visual rhythms Stewart sees as light plays on<br />

cloth. Or as a trio of camels kneel under a storm’s eerie sunshine.<br />

In Cuba, the clock can seem to have stopped in 1959 (the model year for the newest<br />

cars in the country). Yet Stewart captures a vibrant pulse and color there that remind<br />

us how close Havana is to New Orleans, and how deeply Africa runs through both.<br />

It’s the Afro-continuities that interest Stewart the most. Having grown up in the down<br />

south of Tennessee and the “up south” of Chicago before the Civil Rights Act of 1965,<br />

Stewart always understood black America’s selfsufficiencies. He went to Africa to<br />

seek its continuities with the black world at large. “I wanted to see where my people<br />

had come from,” he said. “And after that first visit, I kept coming back.”<br />

What distinguishes Stewart is his passionate eye for uncluttered drama and meaning,<br />

as he celebrates the music of black life: from Jazz at Lincoln Center stages and backstages<br />

to Southern roadhouses, Cuban street parades, and Ghanaian house parties.<br />

This is largely improvised photography, where “improvised” implies the hard-won,<br />

lightning expertise of Charlie Parker, the virtuoso collage-work of Romare Bearden.<br />

With the eye of a painter, Stewart anticipates and composes fast-fleeting moments in a<br />

world with deep, circular routes.

One Eyed Man Santiago, Cuba 1977

<strong>Frank</strong> Stewart was born in Nashville, Tennessee.<br />

His father, <strong>Frank</strong> Stewart, Sr., was a salesman of hi-fidelity recording equipment. His<br />

mother, Dorothy Johnson, was an artist, designer, and model. Both parents immersed<br />

<strong>Frank</strong> and his two sisters in a world where music and visual art mattered. When he<br />

was five, the family moved to Memphis. When he was eight, his mother married the<br />

jazz piano prodigy, Phineas Newborn, Jr. He moved again, this time to New York<br />

City.<br />

When Count Basie invited Newborn, without question one of the best jazz pianists<br />

of his generation, to serve as his opening act at Birdland, Newborn brought his young<br />

stepson onto the New York City jazz scene with him. Together, they went up and<br />

down 52nd Street, and then to other magically named New York City jazz clubs of<br />

the late 1950s: The FiveSpot, The Village Gate, The Village Vanguard. “I got to know<br />

all the cats in Count Basie’s band,” Stewart recalls. “Al Gray, Snooky Young, Count<br />

himself. I also met Miles and Monk, Paul Chambers and Roy Haynes, all of them… I<br />

came from a gospel and R&B background at home. But I got up here and there was<br />

a whole ‘nother musical world. Listening to jazz when I was eight years old, it was like<br />

the avant-garde of today. It was a whole language of improvisation that just escaped<br />

me. But I thought I was cool, you know. I was hip. I was on the scene. I had my little<br />

Blue Car on the Malecon, Havana, 2009<br />

ties on, my vines on. And I was hanging out with him.”<br />

When Newborn declared artistic independence from the networks that controlled<br />

the U.S. music scene, he was barred from recording or performing in this country.<br />

Newborn left the family to work in Europe, and young Stewart was taken back to<br />

Memphis, and then to Chicago, where he lived with his natural father.<br />

It was in Chicago that Stewart took his first art lessons. Like most of his Chicago<br />

buddies, Stewart was a good runner and ball player; but his grandmother, Cora Taylor<br />

Stewart, also signed him up for Saturday drawing classes at the Art Institute of<br />

Chicago. “You’re doing what?!” his friends would say, “You’re going downtown to<br />

draw! Are you crazy?” “I thought I was doing something my mother might like,” Stewart<br />

recalls. “And then I started liking it.” On Saturdays he was among those drawing<br />

the preserved animals at the Field Museum, or trying to capture Grant Park’s shining<br />

Buckingham Fountain with paint on paper. At age thirteen, Stewart traveled<br />

to the March on Washington, where he took some of his first photographs with his<br />

new Brownie box camera—a gift from his mother. “I was turning the camera to make<br />

the pictures look diamond-shaped and what not,” Stewart said. “I couldn’t get close

to Martin Luther King or anything. So I was shooting<br />

people holding signs, shouting, and singing…I look at<br />

those pictures today and say, ‘What was I doing? Was<br />

I drunk?!”<br />

Among his South Side neighborhood friends in Chicago<br />

were Robert Sengstacke and Johnny Simmons,<br />

both of whom were destined to become photographers.<br />

During a visit to the home of Sengstacke, whose family<br />

owned the Chicago Defender newspaper, Stewart saw<br />

his buddy’s photographs blown up to 11 by 14 inches and<br />

mounted on cardboard. These were not the drugstore<br />

prints Stewart was accustomed to. “They were large<br />

and they were just magnificent,” he remembers. And<br />

these friends were listening to jazz. “I had<br />

listened to Miles and them in the Fifties, but I hadn’t<br />

really taken it back up,” said Stewart. “We were into<br />

Motown and the blues in Chicago—the Chess Records<br />

cats like Muddy Waters, Little Walter, and so on. These<br />

guys were listening to jazz and they were cool, and had<br />

berets and goatees. It was a whole other scene. I said,<br />

‘Let me check this out!’”<br />

In 1968, Stewart enrolled in Middle Tennessee State<br />

University, a formerly all-white school near Nashville<br />

that was admitting its first black students. As a track<br />

scholarship student, Stewart was pressed into service as<br />

a physical education major—which seemed far from his<br />

artistic interests. “They had me taking square dancing,<br />

first aid, and CPR. I had to take one humanities class,<br />

and that was English. I got a B in English and a D in ev-<br />

erything else. The white folks’ reaction was, ‘B in English!<br />

Oh, this cat must be a genius!’” During his one semester<br />

at MTSU, <strong>Frank</strong> kept up with track but stopped<br />

attending classes; instead he audited art and art history<br />

classes at nearby Fisk University. By then Sengstacke<br />

was teaching at Fisk, and John Simmons was his assistant.<br />

“I’d go up there and hang out with them. I learned<br />

how to do darkroom technique. I learned about African<br />

American painters from David Driskell, and studied<br />

film-making with Carlton Moss.”<br />

Back in New York, Stewart attended SUNYPurchase<br />

as a political science major, and joined the Mount Vernon<br />

Chapter of the Black Panther Party. “The Panther<br />

thing was low-watt politics,” he recalls. “I wasn’t shaking<br />

the earth. I was selling newspapers and administering<br />

food for the breakfast program. Occasionally we would<br />

picket the Tombs for somebody who got incarcerated.<br />

We would read books by Frantz Fanon.” Yet<br />

he was demoralized by the police infiltration of the Party.<br />

“What disenchanted me about that whole experience<br />

was … you never knew who was the police. Three of ten<br />

would be the police, and they would be the ones setting<br />

policy!” Stewart figured that to enter politics as a career<br />

meant “you either taught political<br />

science or you became some kind of politician. We<br />

didn’t trust politicians, and I didn’t want to teach. So<br />

I thought, ‘Maybe I should start taking some more of<br />

these pictures.’”<br />

The landmark book, Sweet Flypaper of Life (1955), with<br />

photographs by Roy DeCarava and text by Langston<br />

Hughes, was a revelation to him. “I had never seen a<br />

book where black people were depicted in such a positive<br />

light,” he recalls. Stewart was especially inspired<br />

by “the compassion and the tonal range that DeCarava<br />

was able to get out of a print.” “After that, my quest was<br />

clear,” he says. “I would…seek out this man and study<br />

with him.” Stewart was still a teenager when he went<br />

to see DeCarava at his home on Sixth Avenue in Manhattan.<br />

“I was all nervous. I had this little knapsack full<br />

of photographs ironed onto cardboard…I asked him<br />

if I was on the right track, and he said, ‘Yeah, you’re<br />

on the right track….You’re a train on the track!” De-<br />

Carava arranged for Stewart’s admission to Cooper<br />

Union, where he studied with “the master” for a year.<br />

DeCarava taught him that photography was like jazz,<br />

which, “in its most exciting form, is an act of musical<br />

improvisation, an immediate creation,” and that the<br />

black American had “an affinity with” both forms.<br />

Other important mentors at Cooper Union were Jay<br />

Meisel, Joel Meyerowitz, Charles Harbutt, Arnold<br />

Newman, Steven Shore, and Garry Winogrand. It was<br />

Winogrand, Stewart says, who “took the mystique out<br />

of photography” for him. “I always thought that there<br />

was some mystery to great photography, that you had<br />

to be in an inside club, and had to know a whole lot of<br />

technical stuff that nobody else knew. Winogrand just<br />

made that all vanish.” He told Stewart that the only<br />

mystery in photography was “the well-defined fact,” pictures<br />

of, and to take them how I wanted to take them…

.I still had my feelings of what I thought the African<br />

American culture was, and how I could best represent it as an<br />

artist through this medium. But…Cooper Union was like lifting<br />

shackles off of me.”<br />

Stewart graduated from Cooper Union<br />

(B.F.A.) in 1975.<br />

He made his first of several journeys to Africa in 1974: from Liberia<br />

to Nigeria to Upper Volta, Mali, Togo, Dahomey, Senegal,<br />

Ghana. His studies and travels with the art historian Dr. George<br />

Preston sharpened his knowledge of the continent’s history, culture,<br />

and forms. In 1977 and 1978, he made his first of many<br />

trips to Cuba—the latest in October, 2010, with the Jazz at Lincoln<br />

Center Orchestra.<br />

From 1970-1980, he was a regular contributor of photographs to<br />

the African American press, particularly Ebony magazine and the<br />

Chicago Defender. In 1975, he met the painter Romare Bearden,<br />

which sparked a<br />

professional association that lasted until Bearden’s death in 1988.<br />

Through Bearden, Stewart worked as a photographer for several<br />

galleries and museums (1976-1990), including the Studio Museum<br />

in Harlem, the National Urban League’s Gallery 62, Kenkeleba<br />

House, and Cinque Gallery.<br />

Since 1990, Stewart has been senior staff photographer at Jazz<br />

at Lincoln Center. He travels the world with the Jazz at Lincoln<br />

Center Jazz Orchestra.<br />

With Wynton Marsalis as writer, Stewart collaborated on the<br />

book Sweet Swing Blues on the Road (1994). He also collaborated on Smokestack Lightning:<br />

Adventures in the Heart of Barbeque Country (1996), text by Lolis Elie, and Sweet Breath of<br />

Life (2004), text by Ntozake Shange. In 2004, Stewart<br />

published Romare Bearden: Photographs by <strong>Frank</strong> Stewart. Books in progress include studies<br />

of Cuba (Cuba y Su Tumbao) and Africa (The Clock of the Earth).<br />

Stewart’s work appears in major American collections, including the Museum of Modern Art<br />

(NYC), the High Museum (Atlanta), the Mint Museum (Charlotte), the Studio Museum in Harlem,<br />

the Schomburg Center for Research in Black Culture (NYC), and the George Eastman<br />

House (Rochester).<br />

<strong>Frank</strong> Stewart lives in New York City.<br />

— Robert G. O’Meally<br />

December 1, 2010<br />

Smooke and the lovers, Menphis, 1992

Blues & Abstract Reality, New York, 1992

James Booker, Storyville, N.O., 1980

NY 1<br />

This weekend at Leila Hellers’ LTMH gallery on 78th Street and Madison Avenue see the new exhibit “Pulp<br />

Fiction: The Sequel.” With works by Kezban Arca Batibeki. This is the Turkish artist’s first solo show in the U.S.<br />

and it explores issues of gender, culture and more. The gallery is open Monday through Saturday from 10 a.m. to<br />

6 p.m.<br />

“<strong>Traveling</strong> <strong>Full</strong> <strong>Circle</strong>: <strong>Frank</strong> Stewart’s <strong>Visual</strong> <strong>Music</strong>”<br />

www.jalc.org<br />

Harlem World Who/What:<br />

Jazz at Lincoln Center presents a free art exhibition entitled <strong>Traveling</strong> <strong>Full</strong> <strong>Circle</strong>: <strong>Frank</strong> Stewart’s <strong>Visual</strong> <strong>Music</strong>.<br />

Best known as senior staff photographer for Jazz at Lincoln Center, <strong>Frank</strong> Stewart and his cameras have crisscrossed<br />

the world. This exhibition celebrates an artist on the road, and his discovery that his travels from the U.S.<br />

to the Caribbean to Africa and back home are culturally circular journeys.<br />

This exhibit is curated by Robert G. O’Meally, C. Daniel Dawson, Diedra Harris-Kelley (Harlem’s Bearden Foundation),<br />

Emily Lordi (editor), and Linda Florio (designer), with Susan Sillins, President, Black Light Productions.<br />

Jazz Time<br />

Exhibit of Jazz Photography by <strong>Frank</strong> Stewart Opens<br />

<strong>Traveling</strong> <strong>Full</strong> <strong>Circle</strong>: <strong>Frank</strong> Stewart’s <strong>Visual</strong> <strong>Music</strong>, a show of jazz-inspired photography to open at Jazz at Lincoln<br />

Center on January 22, 2011<br />

By Lee Mergner<br />

Photographer <strong>Frank</strong> Stewart, a protégé of Roy DeCarava and a longtime associate of Wynton Marsalis, will have a<br />

special exhibit open this weekend at Jazz at Lincoln Center in their gallery space on the 5th floor. The show, “<strong>Traveling</strong><br />

<strong>Full</strong> <strong>Circle</strong>: <strong>Frank</strong> Stewart’s <strong>Visual</strong> <strong>Music</strong>,” featuring images from his travels from the U.S. to the Caribbean<br />

to Africa, opens on Saturday, January 22 and runs until May 21, 2011. The exhibit is curated by Robert G. O’Meally,<br />

C. Daniel Dawson, Diedra Harris-Kelley, Emily Lordi (editor), and Linda Florio (designer), with Susan Sillins,<br />

President, Black Light Productions. All photographs in the exhibition are available for purchase through Black<br />

Light Productions: 212-799-3797 or info@frankstewartphoto.com.<br />

The exhibit is free and open to the public, Tuesday through Sunday from 10am to 4pm and 6pm to 11pm and Monday<br />

from 6pm to 11pm. For more information, you can also go to Jazz at Lincoln Center’s website.

City Arts<br />

Bowed and Baptized<br />

Photographer <strong>Frank</strong> Stewart, 61, has been the senior staff photographer for Jazz at Lincoln Center for some time,<br />

but he has been transforming life into art since his artist mother bought him a camera when he was a teenager.<br />

“I’ve always been interested in the appearance of light on surfaces,” he says. In <strong>Frank</strong> Stewart’s <strong>Visual</strong> <strong>Music</strong>, an<br />

exhibition of his work at the Peter Jay Sharp Arcade in Frederick P. Rose Hall (running through May 21), visitors<br />

can see just how that sensibility informs his work. In eloquent portraits of jazz greats like Miles Davis and scenes<br />

of worship, as in “God’s Trombones,” in which hundreds of women and men gather as Father Divine baptizes the<br />

faithful, his humanity and keen eye uncover the essence of his subjects.<br />

<strong>Frank</strong> Stewart’s “God’s Trombones” on view at JALC. Jazz at Lincoln Center, © <strong>Frank</strong> Stewart/ Blacklight Productions<br />

“<strong>Frank</strong> Stewart’s photographs capture the most personal moments of his many subjects with warmth, insight<br />

and an eye for that which is most enduring,” Wynton Marsalis, artistic director of Jazz at Lincoln Center, says.<br />

Stewart is the author of several books—including a collection of images of Marsalis and his band on the road—and<br />

is represented by Essie Green Galleries in Harlem. He first applied his knowledge to shooting jazz musicians and<br />

their friends in the 1950s, meeting major figures such Count Basie and Dizzy Gillespie.<br />

After studying at the Chicago Art Institute, Stewart attended Cooper Union to study under renowned photographer<br />

Roy DeCarava. “He taught a whole philosophy about how to approach a subject honestly and tell the truth,”<br />

Stewart explains. “I hope I got some of that.”<br />

Describing that period in his life, Stewart says, “All I did was take pictures and work so I could take more. I drove<br />

a cab, cooked in restaurants, washed dishes, anything just to be able to stay in New York and photograph. The<br />

only things in my apartment were a mattress and an enlarger. If your art doesn’t totally consume you, you’re just a<br />

dilettante.” In the ’60s, he started getting recognition for the images he contributed to Jet and Ebony magazines,<br />

but he remained driven to expand his understanding of African-American culture, so he began traveling in search<br />

of its roots in New Orleans, the Caribbean and Africa.<br />

Many of those photos are included in the current exhibit. Asked for some of his favorites, Stewart singles out<br />

“Miles in the Green Room,” which shows a tense Davis, his back against the wall, surrounded by far more relaxed<br />

musicians and friends; “The Bow,” where members of the Marsalis band all bow together onstage at Carnegie<br />

Hall; and “Hammond B,” an image of the charred and weathered remains of a Hammond organ photographed in<br />

New Orleans after Hurricane Katrina.<br />

Stewart has plans for more extensive travels in Africa over the next year, having a new fascination with the Tuareg<br />

people of Mali. While he says he’ll never stop exploring, he also explains, “What you eventually realize is that you<br />

go out looking for yourself.”

Amadeo Roldán Conservatory, Havana, 2010

Hammond B, New Orleans, 2007<br />

Baptist Drum, New Orleans, 2006

<strong>Frank</strong> Stewart<br />

Born Nashville, TN, July 27, 1949<br />

Lives and works in New York City<br />


1975 BFA Photography, Cooper Union<br />

1972 Art Institute of Chicago<br />

Formal studies with Todd Papageorge, Garry Winogrand,<br />

Joel Meyerowitz,<br />

Roy DeCarava, and Jay Maisel<br />


2011 <strong>Traveling</strong> <strong>Full</strong> <strong>Circle</strong>, Jazz at Lincoln Center, New York<br />

2010 A Fulcrum of Time, Bill Hodges Gallery, New York<br />

2009 The Contemporary <strong>Frank</strong> Stewart, Essie Green Galleries, Harlem<br />

2007 The False Face Mardi Gras, Essie Green Galleries, New York<br />

2007 Jazz Improvisations, Jack Leigh Gallery, Savannah<br />

2006 The Art of <strong>Frank</strong> Stewart, Adrian Ruehl Gallery, New York<br />

2006 Basin Street Station, New Orleans<br />

2005 <strong>Frank</strong> Stewart: RECENT COLOR, Laumont Editions Gallery, New York<br />

2005 Steppin’, Black Pearl Museum, Chicago<br />

2005 <strong>Frank</strong> Stewart: Jazz & Cuba, 514 WEST Gallery, Savannah, GA<br />

2005 <strong>Frank</strong> Stewart:Romare Bearden/The Last Years, High Museum, Atlanta,GA<br />

2004 <strong>Frank</strong> Stewart, Jazz at Lincoln Center, Time Warner Building, NY, NY<br />

2004 <strong>Frank</strong> Stewart: Romare Bearden: The Last Years, June Kelly, NY, NY<br />

2004 Dos Momentos en La Vida, Galerias del ICAIC, Havana, Cuba<br />

2003 Windows, Wilmer Jennings Gallery, New York City<br />

2002 A Slice of Light, The Cuban Art Space, New York City<br />

2002 <strong>Frank</strong> Stewart: Photographs, Julie Baker Fine Art, Grass Valley, CA.<br />

1999 In the House of Swing, Denise Andrews At Resonance Gallery, Miami<br />

1997 <strong>Frank</strong> Stewart: Riffs, Rectangles, and Responses: 25 Years of<br />

Photography, Leica Gallery, New York City<br />


2010 Panopticon Gallery of Photography, Boston, Massachusetts<br />

2009 Galerie Intemporel, Paris, France<br />

2009 Sound: Print: Record, University Museums, Newwark, Delaware<br />

2006 Engulfed by Katrina, Photography Before & After the Storm,<br />

Nathan Cummings Foundation & NYU Tisch School of the Arts, NY<br />

2005 Delta to Delta, Museum of African Art and Origins, Harlem, New York<br />

2005 Carnival, Cummings Foundation, New York<br />

2004 Romare Bearden, Schomburg Center, New York<br />

2003 Saturday Night Sunday Morning, Leica Gallery, New York City<br />

2000 Harlem: A Group Exhibition, Leica Gallery, New York City<br />

UFA Gallery Presents Jazz Plus, Kamoinge Workshop, New York City<br />

1999 Black New York Photographers of the 20th Century, Selections from the<br />

Schomburg Center Collections, New York City<br />

1996 Sight Sound in the Subway (2-person show), The 4th Street Photo Gallery, NYC<br />

1989 The Blues Aesthetic: Black Culture and Modernism, Washington Project<br />

for the Arts, Washington, D.C.<br />

1986 Two Schools: New York and Chicago Contemporary African-American<br />

Photography of the 60s and 70s, Kenkeleba Gallery, New York<br />

1984<br />

–1985 10 Photographers: Olympic Images at The Temporary<br />

Contemporary, The Museum of Contemporary Art, Los Angeles, CA.<br />

1983 Contemporary Afro-American Photographers, Allen Memorial Art<br />

Museum, Oberlin College<br />

1982 New Acquisitions, Schomburg Library and Research Center, Harlem, NY<br />

1979 Harlem On My Mind 68-78, International Center of Photography,<br />

New York City<br />

Black Eyes/Light (2-person show), Studio Museum of Harlem and<br />

University of Massachusetts, Amherst<br />

Diaspora II, Haitian-American Institute, Haiti<br />

1978 Black Photographers Annual (traveling exhibition to Soviet Union)<br />

1977 Black Photographers Annual, Corcoran Gallery, Washington, D.C.<br />


2002–2003 New York Foundation for the Arts Fellow<br />

1990 Artist in Residence, Syracuse University, Light Work Gallery<br />

1987–1988 Artist in Residence, Kenkeleba House, Inc.<br />

1984 National Commission by the Los Angeles Olympic Committee<br />

1984–1985 National Endowment for the Arts, Photographer’s Fellowship<br />

1982–983 National Endowment for the Arts, Photographer’s Fellowship<br />

1980 Creative Artists Public Service Award<br />

1977 Appointed photographer, United States Delegation to Cuba<br />

1975 Artist in Residence, Studio Museum in Harlem<br />


–Sweet Breath of Life; edited by <strong>Frank</strong> Stewart, text by Ntozake Shange,<br />

photographs by The Kamoinge Workshop, Simon & Schuster, c 2004<br />

–ROMARE BEARDEN; Photographs by <strong>Frank</strong> Stewart, Pomegranate Inc.<br />

c 2004<br />

–Smokestack Lightning: Adventures in the Heart of Barbeque Country; written<br />

by Lolis Elie, photographs by <strong>Frank</strong> Stewart, Farrar, Straus & Giroux, c 1996<br />

–Sweet Swing Blues on the Road; written by Wynton Marsalis, photographs by<br />

<strong>Frank</strong> Stewart, WW Norton & Company, c 1994<br />


1990–Present Senior Staff Photographer, Jazz at Lincoln Center, New York<br />

1982–1990 Photographic Specialist, Kenkeleba House, Inc., New York<br />

1986 Associate Director, Contemporary American Artists Series, Inc.<br />

(non-profit historical film company), New York<br />

1984–1986 Art Director/Co-Owner, Onyx Art Gallery, New York<br />

1978–1985 Photographic Consultant, Gallery 62, The National Urban League,<br />

1976–1982 Staff Photographer, Studio Museum in Harlem, New York<br />

1974–1988 Photographic Consultant to Romare Bearden<br />

1975 Consultant, The Schomburg Center for Research in Black Culture<br />

1972–1975 Adjunct Professor, State University at Purchase, Purchase, NY<br />


Museum of Modern Art, New York City<br />

George Eastman House, Rochester, New York<br />

High Museum of Art, Atlanta, GA<br />

Mint Museum of Art, Charlotte, NC<br />

David C. Driskell Collection, housed at University of Maryland<br />

The Schomburg Center for Research in Black Culture, New York City<br />

The Studio Museum, Harlem, New York<br />

Paul Jones Collection, housed at The University of Delaware<br />

Museum of African Art and Origins (MoAaO), Harlem, New York<br />

Telfair Museum of Art, Savannah, Georgia<br />


Cuba y Su Tumbao<br />

Clock of the Earth<br />

Confluence of Time

Call & Echo, Abidjan, Cote d’Ivoire, 1974

Jazz at Lincoln Center January 22 - August 7, 2011<br />

This exhibition was made possible by a collaboration between Jazz at Lincoln Center, <strong>Frank</strong> Stewart<br />

and Susan Sillins/Black Light Productions. The Jazz at Lincoln Center’s curatorial group consisted<br />

of Robert G. O’Meally, C. Daniel Dawson, Diedra Harris-Kelley and Linda Florio.

Moody Object Studies<br />

Mutes<br />

USA, 1991<br />

Silver gelatin<br />

15 x 15<br />

Berlin,<br />

Germany, 2000<br />

Archival pigment print<br />

16 x 20<br />

Sir Roland Hannah<br />

New York, 1991<br />

Archival pigment print<br />

16 x 20<br />

Cassandra Wilson<br />

New Haven, 1997<br />

Silver gelatin,<br />

15 x 15<br />

Mainly NYC<br />

Skaine & Coopty<br />

Miami, 1992<br />

Archival pigment print<br />

24 x 24<br />

Blues & Abstract Reality<br />

New York, 1992<br />

Silver gelatin<br />

16 x 20<br />

Miles in the Green Room<br />

New York, 1981<br />

Archival pigment print<br />

30 x 44.75<br />

This is How Pres Played,<br />

Tallahassee, Florida, 1991<br />

Silver gelatin<br />

16 x 20<br />

Trombone & Silhouette<br />

Germany, 2009<br />

Archival pigment print<br />

17 x 22<br />

Passing the Torch<br />

Santiago, Chile, 1990<br />

Silver gelatin<br />

16 x 20<br />

Kwanza<br />

Harlem, 1975<br />

Silver gelatin<br />

16 x 20<br />

Smoke and the Lovers<br />

Memphis, 1992<br />

Archival pigment print<br />

20 x 30<br />

Comics<br />

Harlem, 1979<br />

Silver gelatin<br />

16 x 20<br />

Warmdaddy in the<br />

House of Swing<br />

New York, 1997<br />

Silver gelatin, 16 x 20<br />

Marcus Roberts<br />

Boston, 1996<br />

Archival pigment print<br />

16 x 20<br />

Stompin the Blues<br />

New Haven, 1996<br />

Archival pigment print<br />

16 x 20<br />

The Bow<br />

Modena, 1996<br />

Archival pigment print<br />

30 x 44<br />

Walter & Willie<br />

New York, 2007<br />

Archival pigment print<br />

49 x 33<br />

Eric & Wynton<br />

New York, 1992<br />

Silver gelatin<br />

16 x 20<br />

Solo<br />

New York, 1992<br />

Silver gelatin<br />

16 x 20<br />

Randy & Big Black<br />

New York, 1989<br />

Silver gelatin<br />

16 x 20<br />

God’s Trombones<br />

Harlem, 2009<br />

C print<br />

32 x 38.5<br />

Keisha Sings the Blues<br />

New York, 1989<br />

Pigment print<br />

16 x 20<br />

R Malone<br />

New York, 2008<br />

Archival pigment print<br />

17 x 22<br />

New Orleans<br />

Calling the Indians Out<br />

New Orleans, 1978<br />

Silver gelatin<br />

16 x 20<br />

Second Line ll<br />

New Orleans, 1979<br />

Silver gelatin<br />

16 x 20<br />

James Booker<br />

Storyville, NO, 1980<br />

Archival pigment print<br />

16 x 20<br />

<strong>Circle</strong> in the Square<br />

Savannah, 2005<br />

C print<br />

32 x 40.5<br />

Baptist Drum<br />

New Orleans, 2006<br />

Archival pigment print<br />

17 x 22<br />

Hammond B<br />

New Orleans, 2007<br />

C print,<br />

33.5 x 40<br />

Katrina’s Houses ll<br />

New Orleans, 2005<br />

Archival pigment print<br />

17 x 22<br />

Grand Marshal<br />

New Orleans, 2001<br />

Silver gelatin,<br />

16 x 20

Second Line<br />

New Orleans, 2001<br />

Silver gelatin<br />

16 x 20<br />

Black Indian Spyboy<br />

New Orleans, 1995<br />

Silver gelatin<br />

16 x 20<br />

Cuba<br />

Santiago Parade<br />

Santiago, 2003<br />

Archival pigment print<br />

20 x 30<br />

Bass Player<br />

Havana, 2002<br />

Archival pigment print<br />

16 x 20<br />

Blue Car on the Malecon<br />

Havana, 2009<br />

Archival pigment print<br />

17 x 22<br />

Rain Street<br />

Santiago, 2004<br />

Silver gelatin<br />

16 x 20<br />

One Eyed Man<br />

Santiago, 1977<br />

Archival pigment print<br />

16.75 x 24<br />

Santiago Mambo<br />

Santiago, 2002<br />

Archival pigment print<br />

22.5 x 30<br />

Batas<br />

Havana, 2002<br />

Pigment print<br />

20 x 24<br />

Santiago Carnival<br />

Santiago, 2003<br />

Silver gelatin print<br />

16 x 20<br />

Transporting the Tumbao<br />

Santiago, 2004<br />

Silver gelatin<br />

16 x 20<br />

Working Out the Changes<br />

Havana, 2010<br />

Archival pigment print<br />

17 x 22<br />

Amadeo Roldán Conservatory<br />

Havana, 2010<br />

Archival pigment print<br />

17 x 22<br />

Africa<br />

Boy & Shadow<br />

Mamfe, Ghana, 2004<br />

Silver gelatin<br />

16 x 20<br />

Pentacost Sunday<br />

Mamfe, Ghana, 2000<br />

Silver gelatin<br />

16 x 20<br />

Traditional Drums<br />

Akropong, Ghana, 2001<br />

Silver gelatin<br />

16 x 20<br />

Abena Pounding Fufu<br />

Mamfe, Ghana, 2000<br />

Silver gelatin<br />

16 x 20<br />

Court Drummers & Kids<br />

Akropong, Ghana, 1998<br />

Silver gelatin<br />

16 x 20<br />

Three Young Camels<br />

Timbuktu, Mali, 2006<br />

Archival pigment print<br />

30 x 40<br />

Goreé Island Painter<br />

Dakar, Senegal, 2006<br />

C print<br />

30 x 40<br />

Paramount Chief<br />

Akwapim, Ghana, 1998<br />

Silver gelatin<br />

16 x 20<br />

Romare Bearden<br />

1979<br />

Jacob Lawrence<br />

1984<br />

Clock of the Earth<br />

Akwapim, Ghana, 1998<br />

Archival pigment print<br />

24 x 24 Ntozake Shange<br />

1993<br />

Call & Echo<br />

Abidjan, Cote d’Ivoire<br />

1974<br />

Archival pigment print<br />

20 x 30<br />

Getting the Spirit<br />

Mamfe, Ghana, 1998<br />

Silver gelatin<br />

16 x 20<br />

One Man Band<br />

Akwapim, Ghana,<br />

2001Silver gelatin<br />

16 x 20<br />

Compound of<br />

the Paramount Chief<br />

Akwapim, Ghana, 1997<br />

Silver gelatin<br />

16 x 20<br />

Portraits<br />

*All photographs are available for purchase through<br />

Black Light Productions.<br />

212-799-3797<br />

info@frankstewartphoto.com<br />

*All measurements of photographs listed are in inches.

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