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, Frank Stewart

and his cameras have crisscrossed the world. This exhibition celebrates an artist on

the road, and his discovery that his travels from the US to the Caribbean to Africa and

back home are culturally circular journeys.

With music as a constant inspiration, Stewart seeks cultural rhymes and resonant

rhythms to unite the various sites of his photographic odyssey. There have been musicians

at every turn of the compass; dancer-musicians whose movement gives the

sound vision; and audience members whose participation makes the sound a communal


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

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

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

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

the earth.” Sometimes the focus is on the visual rhythms Stewart sees as light plays on

cloth. Or as a trio of camels kneel under a storm’s eerie sunshine.

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

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

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

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

south of Tennessee and the “up south” of Chicago before the Civil Rights Act of 1965,

Stewart always understood black America’s selfsufficiencies. He went to Africa to

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

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

What distinguishes Stewart is his passionate eye for uncluttered drama and meaning,

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

to Southern roadhouses, Cuban street parades, and Ghanaian house parties.

This is largely improvised photography, where “improvised” implies the hard-won,

lightning expertise of Charlie Parker, the virtuoso collage-work of Romare Bearden.

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

world with deep, circular routes.

One Eyed Man Santiago, Cuba 1977

Frank Stewart was born in Nashville, Tennessee.

His father, Frank Stewart, Sr., was a salesman of hi-fidelity recording equipment. His

mother, Dorothy Johnson, was an artist, designer, and model. Both parents immersed

Frank and his two sisters in a world where music and visual art mattered. When he

was five, the family moved to Memphis. When he was eight, his mother married the

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


When Count Basie invited Newborn, without question one of the best jazz pianists

of his generation, to serve as his opening act at Birdland, Newborn brought his young

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

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

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

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

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

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

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

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

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

Blue Car on the Malecon, Havana, 2009

ties on, my vines on. And I was hanging out with him.”

When Newborn declared artistic independence from the networks that controlled

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

Newborn left the family to work in Europe, and young Stewart was taken back to

Memphis, and then to Chicago, where he lived with his natural father.

It was in Chicago that Stewart took his first art lessons. Like most of his Chicago

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

Stewart, also signed him up for Saturday drawing classes at the Art Institute of

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

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

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

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

Buckingham Fountain with paint on paper. At age thirteen, Stewart traveled

to the March on Washington, where he took some of his first photographs with his

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

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

people holding signs, shouting, and singing…I look at

those pictures today and say, ‘What was I doing? Was

I drunk?!”

Among his South Side neighborhood friends in Chicago

were Robert Sengstacke and Johnny Simmons,

both of whom were destined to become photographers.

During a visit to the home of Sengstacke, whose family

owned the Chicago Defender newspaper, Stewart saw

his buddy’s photographs blown up to 11 by 14 inches and

mounted on cardboard. These were not the drugstore

prints Stewart was accustomed to. “They were large

and they were just magnificent,” he remembers. And

these friends were listening to jazz. “I had

listened to Miles and them in the Fifties, but I hadn’t

really taken it back up,” said Stewart. “We were into

Motown and the blues in Chicago—the Chess Records

cats like Muddy Waters, Little Walter, and so on. These

guys were listening to jazz and they were cool, and had

berets and goatees. It was a whole other scene. I said,

‘Let me check this out!’”

In 1968, Stewart enrolled in Middle Tennessee State

University, a formerly all-white school near Nashville

that was admitting its first black students. As a track

scholarship student, Stewart was pressed into service as

a physical education major—which seemed far from his

artistic interests. “They had me taking square dancing,

first aid, and CPR. I had to take one humanities class,

and that was English. I got a B in English and a D in ev-

erything else. The white folks’ reaction was, ‘B in English!

Oh, this cat must be a genius!’” During his one semester

at MTSU, Frank kept up with track but stopped

attending classes; instead he audited art and art history

classes at nearby Fisk University. By then Sengstacke

was teaching at Fisk, and John Simmons was his assistant.

“I’d go up there and hang out with them. I learned

how to do darkroom technique. I learned about African

American painters from David Driskell, and studied

film-making with Carlton Moss.”

Back in New York, Stewart attended SUNYPurchase

as a political science major, and joined the Mount Vernon

Chapter of the Black Panther Party. “The Panther

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

the earth. I was selling newspapers and administering

food for the breakfast program. Occasionally we would

picket the Tombs for somebody who got incarcerated.

We would read books by Frantz Fanon.” Yet

he was demoralized by the police infiltration of the Party.

“What disenchanted me about that whole experience

was … you never knew who was the police. Three of ten

would be the police, and they would be the ones setting

policy!” Stewart figured that to enter politics as a career

meant “you either taught political

science or you became some kind of politician. We

didn’t trust politicians, and I didn’t want to teach. So

I thought, ‘Maybe I should start taking some more of

these pictures.’”

The landmark book, Sweet Flypaper of Life (1955), with

photographs by Roy DeCarava and text by Langston

Hughes, was a revelation to him. “I had never seen a

book where black people were depicted in such a positive

light,” he recalls. Stewart was especially inspired

by “the compassion and the tonal range that DeCarava

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

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

with him.” Stewart was still a teenager when he went

to see DeCarava at his home on Sixth Avenue in Manhattan.

“I was all nervous. I had this little knapsack full

of photographs ironed onto cardboard…I asked him

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

on the right track….You’re a train on the track!” De-

Carava arranged for Stewart’s admission to Cooper

Union, where he studied with “the master” for a year.

DeCarava taught him that photography was like jazz,

which, “in its most exciting form, is an act of musical

improvisation, an immediate creation,” and that the

black American had “an affinity with” both forms.

Other important mentors at Cooper Union were Jay

Meisel, Joel Meyerowitz, Charles Harbutt, Arnold

Newman, Steven Shore, and Garry Winogrand. It was

Winogrand, Stewart says, who “took the mystique out

of photography” for him. “I always thought that there

was some mystery to great photography, that you had

to be in an inside club, and had to know a whole lot of

technical stuff that nobody else knew. Winogrand just

made that all vanish.” He told Stewart that the only

mystery in photography was “the well-defined fact,” pictures

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

.I still had my feelings of what I thought the African

American culture was, and how I could best represent it as an

artist through this medium. But…Cooper Union was like lifting

shackles off of me.”

Stewart graduated from Cooper Union

(B.F.A.) in 1975.

He made his first of several journeys to Africa in 1974: from Liberia

to Nigeria to Upper Volta, Mali, Togo, Dahomey, Senegal,

Ghana. His studies and travels with the art historian Dr. George

Preston sharpened his knowledge of the continent’s history, culture,

and forms. In 1977 and 1978, he made his first of many

trips to Cuba—the latest in October, 2010, with the Jazz at Lincoln

Center Orchestra.

From 1970-1980, he was a regular contributor of photographs to

the African American press, particularly Ebony magazine and the

Chicago Defender. In 1975, he met the painter Romare Bearden,

which sparked a

professional association that lasted until Bearden’s death in 1988.

Through Bearden, Stewart worked as a photographer for several

galleries and museums (1976-1990), including the Studio Museum

in Harlem, the National Urban League’s Gallery 62, Kenkeleba

House, and Cinque Gallery.

Since 1990, Stewart has been senior staff photographer at Jazz

at Lincoln Center. He travels the world with the Jazz at Lincoln

Center Jazz Orchestra.

With Wynton Marsalis as writer, Stewart collaborated on the

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

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

Life (2004), text by Ntozake Shange. In 2004, Stewart

published Romare Bearden: Photographs by Frank Stewart. Books in progress include studies

of Cuba (Cuba y Su Tumbao) and Africa (The Clock of the Earth).

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

(NYC), the High Museum (Atlanta), the Mint Museum (Charlotte), the Studio Museum in Harlem,

the Schomburg Center for Research in Black Culture (NYC), and the George Eastman

House (Rochester).

Frank Stewart lives in New York City.

— Robert G. O’Meally

December 1, 2010

Smooke and the lovers, Menphis, 1992

Blues & Abstract Reality, New York, 1992

James Booker, Storyville, N.O., 1980

NY 1

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

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

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

6 p.m.

Traveling Full Circle: Frank Stewart’s Visual Music


Harlem World Who/What:

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

Best known as senior staff photographer for Jazz at Lincoln Center, Frank Stewart and his cameras have crisscrossed

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

to the Caribbean to Africa and back home are culturally circular journeys.

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

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

Jazz Time

Exhibit of Jazz Photography by Frank Stewart Opens

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

Center on January 22, 2011

By Lee Mergner

Photographer Frank Stewart, a protégé of Roy DeCarava and a longtime associate of Wynton Marsalis, will have a

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

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

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

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

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

Light Productions: 212-799-3797 or info@frankstewartphoto.com.

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

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

City Arts

Bowed and Baptized

Photographer Frank Stewart, 61, has been the senior staff photographer for Jazz at Lincoln Center for some time,

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

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

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

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

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

faithful, his humanity and keen eye uncover the essence of his subjects.

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

Frank Stewart’s photographs capture the most personal moments of his many subjects with warmth, insight

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

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

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

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

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

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

Stewart explains. “I hope I got some of that.”

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

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

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

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

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

of its roots in New Orleans, the Caribbean and Africa.

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

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

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

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

New Orleans after Hurricane Katrina.

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

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

go out looking for yourself.”

Amadeo Roldán Conservatory, Havana, 2010

Hammond B, New Orleans, 2007

Baptist Drum, New Orleans, 2006

Frank Stewart

Born Nashville, TN, July 27, 1949

Lives and works in New York City


1975 BFA Photography, Cooper Union

1972 Art Institute of Chicago

Formal studies with Todd Papageorge, Garry Winogrand,

Joel Meyerowitz,

Roy DeCarava, and Jay Maisel


2011 Traveling Full Circle, Jazz at Lincoln Center, New York

2010 A Fulcrum of Time, Bill Hodges Gallery, New York

2009 The Contemporary Frank Stewart, Essie Green Galleries, Harlem

2007 The False Face Mardi Gras, Essie Green Galleries, New York

2007 Jazz Improvisations, Jack Leigh Gallery, Savannah

2006 The Art of Frank Stewart, Adrian Ruehl Gallery, New York

2006 Basin Street Station, New Orleans

2005 Frank Stewart: RECENT COLOR, Laumont Editions Gallery, New York

2005 Steppin’, Black Pearl Museum, Chicago

2005 Frank Stewart: Jazz & Cuba, 514 WEST Gallery, Savannah, GA

2005 Frank Stewart:Romare Bearden/The Last Years, High Museum, Atlanta,GA

2004 Frank Stewart, Jazz at Lincoln Center, Time Warner Building, NY, NY

2004 Frank Stewart: Romare Bearden: The Last Years, June Kelly, NY, NY

2004 Dos Momentos en La Vida, Galerias del ICAIC, Havana, Cuba

2003 Windows, Wilmer Jennings Gallery, New York City

2002 A Slice of Light, The Cuban Art Space, New York City

2002 Frank Stewart: Photographs, Julie Baker Fine Art, Grass Valley, CA.

1999 In the House of Swing, Denise Andrews At Resonance Gallery, Miami

1997 Frank Stewart: Riffs, Rectangles, and Responses: 25 Years of

Photography, Leica Gallery, New York City


2010 Panopticon Gallery of Photography, Boston, Massachusetts

2009 Galerie Intemporel, Paris, France

2009 Sound: Print: Record, University Museums, Newwark, Delaware

2006 Engulfed by Katrina, Photography Before & After the Storm,

Nathan Cummings Foundation & NYU Tisch School of the Arts, NY

2005 Delta to Delta, Museum of African Art and Origins, Harlem, New York

2005 Carnival, Cummings Foundation, New York

2004 Romare Bearden, Schomburg Center, New York

2003 Saturday Night Sunday Morning, Leica Gallery, New York City

2000 Harlem: A Group Exhibition, Leica Gallery, New York City

UFA Gallery Presents Jazz Plus, Kamoinge Workshop, New York City

1999 Black New York Photographers of the 20th Century, Selections from the

Schomburg Center Collections, New York City

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

1989 The Blues Aesthetic: Black Culture and Modernism, Washington Project

for the Arts, Washington, D.C.

1986 Two Schools: New York and Chicago Contemporary African-American

Photography of the 60s and 70s, Kenkeleba Gallery, New York


–1985 10 Photographers: Olympic Images at The Temporary

Contemporary, The Museum of Contemporary Art, Los Angeles, CA.

1983 Contemporary Afro-American Photographers, Allen Memorial Art

Museum, Oberlin College

1982 New Acquisitions, Schomburg Library and Research Center, Harlem, NY

1979 Harlem On My Mind 68-78, International Center of Photography,

New York City

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

University of Massachusetts, Amherst

Diaspora II, Haitian-American Institute, Haiti

1978 Black Photographers Annual (traveling exhibition to Soviet Union)

1977 Black Photographers Annual, Corcoran Gallery, Washington, D.C.


2002–2003 New York Foundation for the Arts Fellow

1990 Artist in Residence, Syracuse University, Light Work Gallery

1987–1988 Artist in Residence, Kenkeleba House, Inc.

1984 National Commission by the Los Angeles Olympic Committee

1984–1985 National Endowment for the Arts, Photographer’s Fellowship

1982–983 National Endowment for the Arts, Photographer’s Fellowship

1980 Creative Artists Public Service Award

1977 Appointed photographer, United States Delegation to Cuba

1975 Artist in Residence, Studio Museum in Harlem


–Sweet Breath of Life; edited by Frank Stewart, text by Ntozake Shange,

photographs by The Kamoinge Workshop, Simon & Schuster, c 2004

–ROMARE BEARDEN; Photographs by Frank Stewart, Pomegranate Inc.

c 2004

–Smokestack Lightning: Adventures in the Heart of Barbeque Country; written

by Lolis Elie, photographs by Frank Stewart, Farrar, Straus & Giroux, c 1996

–Sweet Swing Blues on the Road; written by Wynton Marsalis, photographs by

Frank Stewart, WW Norton & Company, c 1994


1990–Present Senior Staff Photographer, Jazz at Lincoln Center, New York

1982–1990 Photographic Specialist, Kenkeleba House, Inc., New York

1986 Associate Director, Contemporary American Artists Series, Inc.

(non-profit historical film company), New York

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

1978–1985 Photographic Consultant, Gallery 62, The National Urban League,

1976–1982 Staff Photographer, Studio Museum in Harlem, New York

1974–1988 Photographic Consultant to Romare Bearden

1975 Consultant, The Schomburg Center for Research in Black Culture

1972–1975 Adjunct Professor, State University at Purchase, Purchase, NY


Museum of Modern Art, New York City

George Eastman House, Rochester, New York

High Museum of Art, Atlanta, GA

Mint Museum of Art, Charlotte, NC

David C. Driskell Collection, housed at University of Maryland

The Schomburg Center for Research in Black Culture, New York City

The Studio Museum, Harlem, New York

Paul Jones Collection, housed at The University of Delaware

Museum of African Art and Origins (MoAaO), Harlem, New York

Telfair Museum of Art, Savannah, Georgia


Cuba y Su Tumbao

Clock of the Earth

Confluence of Time

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

Jazz at Lincoln Center January 22 - August 7, 2011

This exhibition was made possible by a collaboration between Jazz at Lincoln Center, Frank Stewart

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

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

Moody Object Studies


USA, 1991

Silver gelatin

15 x 15


Germany, 2000

Archival pigment print

16 x 20

Sir Roland Hannah

New York, 1991

Archival pigment print

16 x 20

Cassandra Wilson

New Haven, 1997

Silver gelatin,

15 x 15

Mainly NYC

Skaine & Coopty

Miami, 1992

Archival pigment print

24 x 24

Blues & Abstract Reality

New York, 1992

Silver gelatin

16 x 20

Miles in the Green Room

New York, 1981

Archival pigment print

30 x 44.75

This is How Pres Played,

Tallahassee, Florida, 1991

Silver gelatin

16 x 20

Trombone & Silhouette

Germany, 2009

Archival pigment print

17 x 22

Passing the Torch

Santiago, Chile, 1990

Silver gelatin

16 x 20


Harlem, 1975

Silver gelatin

16 x 20

Smoke and the Lovers

Memphis, 1992

Archival pigment print

20 x 30


Harlem, 1979

Silver gelatin

16 x 20

Warmdaddy in the

House of Swing

New York, 1997

Silver gelatin, 16 x 20

Marcus Roberts

Boston, 1996

Archival pigment print

16 x 20

Stompin the Blues

New Haven, 1996

Archival pigment print

16 x 20

The Bow

Modena, 1996

Archival pigment print

30 x 44

Walter & Willie

New York, 2007

Archival pigment print

49 x 33

Eric & Wynton

New York, 1992

Silver gelatin

16 x 20


New York, 1992

Silver gelatin

16 x 20

Randy & Big Black

New York, 1989

Silver gelatin

16 x 20

God’s Trombones

Harlem, 2009

C print

32 x 38.5

Keisha Sings the Blues

New York, 1989

Pigment print

16 x 20

R Malone

New York, 2008

Archival pigment print

17 x 22

New Orleans

Calling the Indians Out

New Orleans, 1978

Silver gelatin

16 x 20

Second Line ll

New Orleans, 1979

Silver gelatin

16 x 20

James Booker

Storyville, NO, 1980

Archival pigment print

16 x 20

Circle in the Square

Savannah, 2005

C print

32 x 40.5

Baptist Drum

New Orleans, 2006

Archival pigment print

17 x 22

Hammond B

New Orleans, 2007

C print,

33.5 x 40

Katrina’s Houses ll

New Orleans, 2005

Archival pigment print

17 x 22

Grand Marshal

New Orleans, 2001

Silver gelatin,

16 x 20

Second Line

New Orleans, 2001

Silver gelatin

16 x 20

Black Indian Spyboy

New Orleans, 1995

Silver gelatin

16 x 20


Santiago Parade

Santiago, 2003

Archival pigment print

20 x 30

Bass Player

Havana, 2002

Archival pigment print

16 x 20

Blue Car on the Malecon

Havana, 2009

Archival pigment print

17 x 22

Rain Street

Santiago, 2004

Silver gelatin

16 x 20

One Eyed Man

Santiago, 1977

Archival pigment print

16.75 x 24

Santiago Mambo

Santiago, 2002

Archival pigment print

22.5 x 30


Havana, 2002

Pigment print

20 x 24

Santiago Carnival

Santiago, 2003

Silver gelatin print

16 x 20

Transporting the Tumbao

Santiago, 2004

Silver gelatin

16 x 20

Working Out the Changes

Havana, 2010

Archival pigment print

17 x 22

Amadeo Roldán Conservatory

Havana, 2010

Archival pigment print

17 x 22


Boy & Shadow

Mamfe, Ghana, 2004

Silver gelatin

16 x 20

Pentacost Sunday

Mamfe, Ghana, 2000

Silver gelatin

16 x 20

Traditional Drums

Akropong, Ghana, 2001

Silver gelatin

16 x 20

Abena Pounding Fufu

Mamfe, Ghana, 2000

Silver gelatin

16 x 20

Court Drummers & Kids

Akropong, Ghana, 1998

Silver gelatin

16 x 20

Three Young Camels

Timbuktu, Mali, 2006

Archival pigment print

30 x 40

Goreé Island Painter

Dakar, Senegal, 2006

C print

30 x 40

Paramount Chief

Akwapim, Ghana, 1998

Silver gelatin

16 x 20

Romare Bearden


Jacob Lawrence


Clock of the Earth

Akwapim, Ghana, 1998

Archival pigment print

24 x 24 Ntozake Shange


Call & Echo

Abidjan, Cote d’Ivoire


Archival pigment print

20 x 30

Getting the Spirit

Mamfe, Ghana, 1998

Silver gelatin

16 x 20

One Man Band

Akwapim, Ghana,

2001Silver gelatin

16 x 20

Compound of

the Paramount Chief

Akwapim, Ghana, 1997

Silver gelatin

16 x 20


*All photographs are available for purchase through

Black Light Productions.



*All measurements of photographs listed are in inches.

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