I am supposed to appear as a talking head in this documentary about black photography.
Epic Documentary is First Film to Examine the Role of Black Photographers in Shaping Identity of African Americans from Slavery to the Present
Award-winning filmmaker/director/producer Thomas Allen Harris’ recently completed documentary film, THROUGH A LENS DARKLY: BLACK PHOTOGRAPHERS AND THE EMERGENCE OF A PEOPLE, will make its World Premiere at the Sundance Film Festival in January 2014. This epic film, about contemporary artists and scholars probing the recesses of the American dream by interrogating images of stories suppressed, forgotten and lost, is the first documentary to explore the role of photography in shaping the identity, aspirations and social emergence of African Americans from slavery to the present. The film brings to light previously hidden and largely unknown images by both professional and vernacular African American photographers which add to our understanding of history by providing a window into lives, experiences and perspectives of Black families that is absent from the traditional historical canon.
“My whole team and I are extremely excited and humbled by this honor,” says Thomas Allen Harris. “Inspired by the work of our co-producer Deborah Willis, this project has been ten years in the making. We’re looking forward to audiences experiencing this incredible content, much of which has never been seen before.”
Egyptomania is part of a broader afromania within my cultural imagination, but I will be focusing more on “black Africa” for the book. Nevertheless my recent perusing has revealed a much deeper and richer vein of unexposed and unstudied material that warrants further research and reflection. Unfortunately, there is so much that will be left on the cutting room floor when Afrochic is published. Here, therefore, is another tidbit that I wanted to shine a little light on – one day I may get to explore fin-de-siècle Egyptomania more thoroughly:
While touching upon dress I only mention that we have a little Egyptian figure whose dress is “accordion pleated” from throat to feet; it also wears a little “accordion-pleated ” cape. So the fashions and arts of dress come round.
“Art.” by Mrs. Emily Crawford.
Publication: Eagle, Mary Kavanaugh Oldham, ed. The Congress of Women: Held in the Woman’s Building, World’s Columbian Exposition, Chicago, U. S. A., 1893.. Chicago, ILL: Monarch Book Company, 1894. pp. 87-89.
[Kevin Guyan is working as a student engager at the UCL Art Museum over the duration of our Black Bloomsbury exhibition. He has kindly agreed to us cross-posting his blog post 'Engaging with Black Bloomsbury' which can be found here: As part of the series of public events linked to our exhibition, Kevin will be talking on the subject of Going Dancing: Black Bloomsbury and Dance in the 1940s exploring the Black presence in 1940s Bloomsbury and focusing on histories of cultural interaction in social spaces such as dancehalls. The event takes place at UCL Art Museum on 15 November, 2 -3.30pm.]
By Kevin Guyan
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UCL Art Museum, 23 September – 13 December 2013
The Equiano Centre’s Caroline Bressey and Gemma Romain have co-curated the UCL Art Museum’s autumn exhibition Black Bloomsbury which runs until 13 December. Based upon research carried out as part of the AHRC-funded project Drawing over the Colour Line: Geographies of art and cosmopolitan politics in London, 1919 – 1939, the exhibition explores and documents the black presence in Bloomsbury from 1918 to 1948, highlighting the geographies of the Black presence in Bloomsbury and interwar politics including anti-colonial and anti-racist activism. The exhibition presents a small number paintings, drawings, and archival documents from UCL highlighting how this Black presence was represented in the artworks of Slade students from the period. It features the work of Slade students Ivy MacKusick, Ann Tooth, Leila Leigh, JHM Innes, Denis Curry and Ernest Pascoe, and also displays Winifred Knights’ 1920 oil painting Portrait of a…
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Enduring Afrochic! I am investigating the historical origins of the fashion trend that had powerful currency throughout the 20th century. And it seems that “exotic” Africa will continue to inspire in the 21st century. Love and Theft! Love and Theft!
PARIS — The news of the departure of Marc Jacobs from Louis Vuitton overshadowed the final day of the Paris summer 2014 collections. But people in the audience were reminded of the designer’s exceptional skill at creating great fashion moments by this presentation, all in black, of showgirl clothes.
The models, with their giant Folies Bergère feather headdresses and jet-embroidered chiffon, looked dramatic. But they gave the impression that the party performance was over, not least because bluejeans were often worn under the finery as if the dancers were making their way home.
Time hasn’t been kind to the white women who participated in the Harlem Renaissance. As philanthropists and activists, authors and patrons, they sought a place for themselves in that remarkable outpouring of African-American art during the 1920s and ’30s. Some, constrained by social expectations, effaced the records of their work. Others made it difficult for historians to treat them with much seriousness. What, after all, can we do with someone like Nancy Cunard, a British steamship heiress raised on a remote English estate, who felt no shame in proclaiming “I speak as if I were a Negro myself”?
“Miss Anne” — the dismissive collective name given to white women — makes bit appearances in the literature of the era as a dilettante or imperious patron; later, she’s depicted as a thrill-seeking “slummer.” Always, she lurks in the shadows of her male counterparts in scholarly studies of the movement. But she was there, encouraging writers, underwriting cultural institutions, supporting progressive political causes. And many leading Harlem Renaissance figures — including Langston Hughes, Alain Locke and Nella Larsen — had reason to be grateful to her. At least for a while. Like everything else about Miss Anne, those relationships got complicated.
In this remarkable work of historical recovery, Carla Kaplan, author of “Zora Neale Hurston: A Life in Letters,” does well by a group of women who got so much wrong. She resurrects Miss Anne as a cultural figure and explores the messy contradictions of her life, moving her from the periphery of a story about white patronage and boundary-testing interracial liaisons to the center. With a focus on six of the roughly 60 white women active in the Harlem Renaissance, Kaplan delineates Miss Anne as a counterpart to the better known flapper or “new woman” of the Roaring Twenties. But this is really a collection of individual stories, a group biography that lets the idiosyncrasies of the individual women shine through. “Negrotarians,” as the writer and anthropologist Zora Neale Hurston called Harlem’s white patrons, were a diverse crew, full of good intentions, startling blind spots and astonishing self-confidence.
Turns out that Simcox is the surname of Clara E. Simcox, aka Madame Simcox, a New York dressmaker. There isn’t a lot floating out there on the web about her but she is on my radar now.
Originally posted on FASHION:
As we read about haute couture, and I reveled in the gloriousness of this practice of hand fabricated garments, I recalled one of my favorite opulent gowns from the Metropolitan Museum of Art’s collection: this Egyptian Revival 1912 gown by a New York dressmaker that went by the moniker Simcox. I discussed in this garment in my presentation on Egyptomania and fashion for the Common Threads symposium last spring. This piece predates the discovery and opening of King Tut’s tomb in 1922, but it was from the year that the famous bust of Nefertitti was unearthed. The beaded embroidery embellishing the gown contains several Egyptian motifs, especially on the front bodice.