{"id":151007,"date":"2021-02-17T16:02:21","date_gmt":"2021-02-17T21:02:21","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=151007"},"modified":"2021-02-17T16:09:35","modified_gmt":"2021-02-17T21:09:35","slug":"the-power-of-the-kamoinge-workshop","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/17\/the-power-of-the-kamoinge-workshop\/","title":{"rendered":"The Power of the Kamoinge Workshop"},"content":{"rendered":"

In 1963, with the civil rights movement in full swing, a group of New York City\u2013based Black photographers began meeting regularly to talk shop, listen to jazz, discuss politics, critique one another\u2019s work, and bond over the power of their shared medium. Thus, the Kamoinge Workshop was born, a collective whose members pursued wildly varying aesthetic interests but held a mutual commitment to photography\u2019s value as art. <\/em>\u201cWorking Together<\/a>,\u201d an exhibition featuring work by fourteen key members of the Kamoinge Workshop, will be on view at the Whitney Museum of American Art through March 28. A selection of images from the show appears below.<\/em><\/p>\n

\"\"<\/a>

Anthony Barboza, Kamoinge Members<\/em>, 1973, gelatin silver print, 9 3\/4 x 10″. Whitney Museum of American Art, New York; purchase with funds from the Jack E. Chachkes Endowed Purchase Fund 2020.55. \u00a9 Anthony Barboza.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Adger Cowans, Footsteps<\/em>, 1960, gelatin silver print, 8 1\/4 \u00d7 13 1\/4″. Virginia Museum of Fine Arts, Aldine S. Hartman Endowment Fund, 2018.201. \u00a9 Adger Cowans.<\/p><\/div>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Ming Smith, America seen through Stars and Stripes, New York City, New York<\/em>, printed ca. 1976, gelatin silver print, 15 3\/4 \u00d7 20″. Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Williams Fund, 2016.241. \u00a9 Ming Smith.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

James \u201cJimmie\u201d Mannas, No Way Out, Harlem, NYC<\/em>, 1964, gelatin silver print, mount: 15 1\/8 \u00d7 11″. Virginia Museum of Fine Arts, Arthur and Margaret Glasgow Endowment, 2019.201. \u00a9 Jimmie Mannas.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Shawn Walker, Easter Sunday, Harlem (125th Street)<\/em>, 1972, gelatin silver print: sheet, 7 3\/4 \u00d7 9 3\/4″. Whitney Museum of American Art, New York; purchase with funds from the Photography Committee, the Jack E. Chachkes Endowed Purchase Fund, and the Robert Mapplethorpe Foundation 2020.61. \u00a9 Shawn Walker.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Albert Fennar, Salt Pile<\/em>, 1971, gelatin silver print, 6 1\/2 x 6 1\/2″. Collection of Shawn Walker. \u00a9 Miya Fennar and The Albert R. Fennar Archive.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Beuford Smith, Two Bass Hit, Lower East Side<\/em>, 1972, gelatin silver print, sheet: 11 \u00d7 14″. Virginia Museum of Fine Arts, Arthur and Margaret Glasgow Endowment, 2017.36. \u00a9 Beuford Smith\/C\u00e9saire.<\/p><\/div>\n

 <\/p>\n

\u201cWorking Together: The Photographers of the Kamoinge Workshop<\/a>\u201d will be on view at the Whitney Museum of American Art through March 28.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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