“You should be able to look at me and see my work. You should be able to look at my work and see me.”
Roy DeCarava
Thru Black Eyes
In sociology we have something we call reference groups. Reference groups are those groups of people you look up to and aspire to become. As a budding photographer I have found it so important to find those photographers whose work can inspire and inform my work. What I’ve found in my studies, just like in my former academic journeys, there are few African Americans put in front of us in the classroom.
When the roll of great photographers are called they very rarely look like me or see as I do. The eye of the photographer is focused via his or her socialization. The background from which one comes informs how he or she views the world through the view finder. Moreover when the world of photography has primarily been defined by the eyes of those who don’t look like and don’t see as I see then the question becomes how is the work of the African American photographers viewed in a world that is defined by the “masters”?
When I think of the roll call that is laid out in photography programs we get all the usual suspects. The Life magazine photographers and the Magnum photographers and VII are the names we here. But if I were to call the names:
The Kamoinge Workshop
Louis Draper
Thomas Askew
Jim Alexander
Albert Fennar
Moneta Sleet
Michael Cheers
Vandell Cobb
Kenneth Coleman
Lacey Crawford
Todd Duncan
Bill Gillohm
Bob Johnson
Herbert Randall
John Shearer
Ozar Muhamad
G. Marshall Wilson
Just to name a few….the room would go silent. These names aren’t called. The work of these photographers is not on the contact sheet of important photographers. How do I see the group I want to be part of when the group isn’t presented to me in the classroom? As an African American who holds a camera and views the world through the viewfinder how do I connect with those who have been socialized as I have, especially those, who like me, considers themselves activist photographers? When the work of those who look like me and see like me have been ignored by the institutions that shape photographers the question becomes how are these institutions teaching me to see and can I see myself and my work in a world that doesn’t see those who came before me?
The answer to my dilemma is it is up to me, it is up to you to find your group. Your group is that group of artist, thinkers, game changers that you want to be part of and you have to study them. Follow them and find out how you might become part of that group. Don’t wait for or expect others to show you the road to artistic freedom and expression. It is your responsibility to find yourself.
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| Required Reading - Not Assigned - This is my reading list over the winter break. |
Let me be clear this is not a personal attack but rather an institutional critique. This is not about the teachers in the classroom but rather I am talking about how institutions systemically embrace, nurture and support systems of oppression. Masters aren’t trained to nurture revolutionaries. Masters are trained to break revolutionaries. Institutions that award you master degrees aren’t preparing you to become a master but rather to submit to the master. You have to reflect on Audre Lorde question: “Can we use the masters tools to dismantle the master’s house.” The master will never give you the tools for freedom. The tools to secure your freedom is constructed in the heart, mind and eye of the revolutionary artist. Go find your group and in-turn you will find yourself and create revolutionary art. Where are you looking? What are you seeing? What are you creating?
