In The New Black Vanguard: Photography between Art and Fashion, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion and art today.
The New Black Vanguard: Photography between Art and Fashion presents artists whose vibrant portraits and conceptual images fuse the genres of art and fashion photography in ways that break down long-established boundaries. Their work has been widely consumed in traditional lifestyle magazines, ad campaigns, and museums, as well as on their individual social-media channels, reinfusing the contemporary visual vocabulary around beauty and the body with new vitality and substance. The images open up conversations around the representation of the Black body and Black lives as subject matter; collectively, they celebrate Black creativity and the cross-pollination between art, fashion, and culture in constructing an image. Seeking to challenge the idea that Blackness is homogenous, the works serve as a form of visual activism. It’s a perspective often seen from this loose movement of thriving talents, who are creating photography in vastly different contexts—New York and Johannesburg, Lagos and London. The results—often made in collaboration with Black stylists and fashion designers—present new perspectives on the medium of photography and the notions of race and beauty, gender and power.
The featuring of the Black figure and Black runway and cover models in the media and art has been one marker of increasingly inclusive fashion and art communities. More critically, however, the contemporary visual vocabulary around beauty and the body has been reinfused with new vitality and substance thanks to an increase in powerful images authored by an international community of Black photographers.
In a richly illustrated essay, Sargent opens up the conversation around the role of the Black body in the marketplace; the cross-pollination between art, fashion, and culture in constructing an image; and the institutional barriers that have historically been an impediment to Black photographers participating more fully in the fashion (and art) industries.
Fifteen artist portfolios feature the brightest contemporary fashion photographers, including Tyler Mitchell, the first Black photographer hired to shoot a cover story for American Vogue; Campbell Addy, founder of the Nii Agency and journal; and Nadine Ijewere, whose early series title, The Misrepresentation of Representation, says it all. Alongside a series of conversations between generations, their images and stories chart the history of inclusion, and exclusion, in the creation of the commercial Black image, while simultaneously proposing a brilliantly reenvisioned future.
Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo. And conversations with Shaniqwa Jarvis, Mickalene Thomas, and Deborah Willis
