Traveling Full Circle ~ Frank Stewart's Visual Music PDF

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
ritual.
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
City.
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”
www.jalc.org
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
EDUCATION:
1975 BFA Photography, Cooper Union
1972 Art Institute of Chicago
Formal studies with Todd Papageorge, Garry Winogrand,
Joel Meyerowitz,
Roy DeCarava, and Jay Maisel
SELECTED SOLO EXHIBITIONS:
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
SELECTED GROUP EXHIBITIONS:
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
1984
–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.
SELECTED AWARDS & HONORS:
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
PUBLICATIONS:
–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
PROFESSIONAL EXPERIENCE:
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
SELECTED COLLECTIONS:
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
BOOKS IN PROGRESS
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
Mutes
USA, 1991
Silver gelatin
15 x 15
Berlin,
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
Kwanza
Harlem, 1975
Silver gelatin
16 x 20
Smoke and the Lovers
Memphis, 1992
Archival pigment print
20 x 30
Comics
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
Solo
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
Cuba
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
Batas
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
Africa
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
1979
Jacob Lawrence
1984
Clock of the Earth
Akwapim, Ghana, 1998
Archival pigment print
24 x 24 Ntozake Shange
1993
Call & Echo
Abidjan, Cote d’Ivoire
1974
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
Portraits
*All photographs are available for purchase through
Black Light Productions.
212-799-3797
info@frankstewartphoto.com
*All measurements of photographs listed are in inches.