The New Black Vanguard: Photography Between Art and Fashion exhibition explores historical representation of the Black body and Black lives as subject matter
This month at the Saatchi Gallery, a new exhibition seeks to ‘challenge the idea that Blackness is homogenous’. Entitled The New Black Vanguard: Photography Between Art and Fashion, this exhibition celebrates Black creativity in the form of vibrant portraits.
Published as an art book by Aperture in 2019, The New Black Vanguard is a collection of emerging Black photographers. The book addresses representation of the Black body and Black lives, both behind and in front of the camera lens over the years. A selection of the photographs from the publication will be displayed at the Saatchi Gallery from the 28th October.
The New Black Vanguard is curated by art critic Antwaun Sargent, who has carefully selected fifteen innovative international Black photographers; including Tyler Mitchell, the first Black photographer hired to capture a cover story for Vogue. Other talent includes Campbell Addy, Tyler Mitchell, Daniel Obasi, Renell Medrano and Nadine Ijewere. Their work has been featured in museums, magazines and ad campaigns, as well as being shared widely on social media.
Nadine Ijewere said, ‘It’s a dream for this show to be exhibited at the Saatchi Gallery in London. This represents progress and more boundaries being removed. London is my home, I still remember school trips to the Saatchi! Now we are here, together, telling our stories!’
Nadine Ijewere, Untitled, 2018, from The New Black Vanguard (Aperture, 2019). © Nadine Ijewere, for Garage magazine.
Tyler Mitchell, Untitled (Hijab Couture), New York, 2019, from The New Black Vanguard (Aperture, 2019). © Tyler Mitchell.
The image used as the front cover of The New Black Vanguard (2019) will also be on display at the Saatchi.
The portraits Sargent chose for the exhibition show fashion photography in different contexts – whether it’s New York, Johannesburg, Lagos or London. The collaboration reframes representation in art and fashion and presents important perspectives on race, gender and beauty.
Quil Lemons: “I feel like masculinity is sort of a prison. You can be masculine and gay, or feminine and straight. Now we have more space to play.”
Quil Lemons, New York, 2017, from The New Black Vanguard (Aperture, 2019). © Quil Lemons
With his piece New York, Quil Lemons inverts traditional gender roles. With glitter illuminating his face and sitting in front of a pink background, the male model in the photograph represents counter expectations of masculinity and femininity.
Namsa Leuba, Sarah, Lagos, Nigeria, 2015, from The New Black Vanguard (Aperture, 2019). © Namsa Leuba.
Namsa Leuba, a Swiss-Guinean photographer and art director, will have selected works shown. Sarah, Lagos, Nigeria presents a model posed in front of a psychedelic background. The vivid colours and swirling patterns are eye-catching and are in reference to Pan-Africanism. The model wears Nigerian designer Ituen Basi Torlowei, thus the image blends art and fashion.
Using social media as a portfolio to promote her work, Renell Medrano’s photographs proved to be immensely popular on Tumblr. Communities and habitual events inspire her and allow her to exhibit beauty in everything she sees.
Renell Medrano, 1984, Harlem, New York, 2018, from The New Black Vanguard (Aperture, 2019). © Renell Medrano.
Prioritising space and intimacy over perfection, Medrano seeks flaws and creates unique beauty from it.
Antwaun Sargent explained how the exhibition gives a platform to and champions Black artists in charge of their narrative; from how the public views Black people and people of colour, to how their own communities see themselves.
London-based Expressionist artist Elicia McKensie commented, ‘Representation is vital in the arts industry! To see ourselves in spaces, which for years has appeared to be only for the elite, is important and vital in opening the doors for Black creatives to exhibit. It is also important for the audience to view the celebration of people of colour, to experience our stories, interpretation or culture via our creative tool, which in turn opens up more room for conversation and appreciation. It is good to see that change is taking place but more needs to happen.’
Jaffar Aly, who is a resident artist at An Effort in Soho, wrote to me about what will cement inclusivity in the future, in the form of after care for the artists, ‘I think there definitely needs to be more. And not more for the sake of just presenting and shallow recognition. I'm talking about more shows curated by Black curators that have a message and theme. Not just a collection of Black artists thrown into a fancy space, but a show with narrative and depth. This is what needs, emphasise on NEED, to be in institutions like Saatchi. Not only deeper recognition and curation, but the maintenance, the after care of the show. Yes, even exhibitions deserve after care, not just ourselves after a hot session with an evening counterpart. A show needs love even when it has finished. Are the artworks being presented in front of collectors? I feel like shows in institutions like Saatchi that present Black art do not get the after care it deserves. But these are just my thoughts and lived experiences.’
Campbell Addy, Adut Akech, 2019, from The New Black Vanguard (Aperture, 2019). © Campbell Addy
Speaking about the upcoming exhibition, Sargent told the Saatchi Gallery that the collection of photographs ‘powerfully centres identity, community and desire’. It outlines the history of the commercial Black image, detailing moments of inclusion -and exclusion- but looks forward to a hopeful future.
The New Black Vanguard: Photography between Art and Fashion, organised by Aperture, opens from 28 October to 22 January 2023 at Saatchi Gallery. The exhibition is curated by Antwaun Sargent. Tickets £10. Concessions available, Saatchi Gallery members go free.
*Article written for the Mail Online - publish date on their website TBC*
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