Serena Williams Embraces Motherhood on Cover of Vanity Fair

Serena Williams (photo via vanityfair.com)

by Lori Lakin Hutcherson (@lakinhutcherson)

According to colorlines.com, Serena Williams recently paid homage to the famous Vanity Fair cover of a nude, pregnant Demi Moore, by having the same photographer, Annie Leibovitz, shoot her recent pregnancy cover in a similar pose (the hand on that hip though – all Serena). Leibovitz also shot all of the story’s photos, including black-and-white images of Williams with Alexis Ohanian, her Armenian-American fiancé who co-founded Reddit.

The cover story focuses on Williams and Ohanian’s account of their year-and-a-half courtship, engagement last December and her subsequent pregnancy. Williams also discusses her plan to return to tennis in January, roughly three months after her child’s anticipated birthdate.

Read the article and view the full set of photos here.

Halima Aden is 1st Hijab-Wearing Woman to Cover any Edition of Vogue

Halima Aden covers Vogue Arabia (photo via colorlines.com)

by Kenrya Rankin via colorlines.com

The Trump Administration is doing its best impersonation of a trash bag as it tries to keep Muslims outside its borders, but Vogue Arabia highlights the beauty and hustle of Muslim Somali-American model Halima Aden on the cover of its June issue. Mic.com reports that she is the first hijab-wearing model to cover any edition of Vogue.

Aden described the moment as “surreal” in an Instagram post yesterday (June 1). In a video on the magazine’s website, she talks about why it’s important for her to appear on the cover. “Every little girl deserves to see a role model that’s dressed like her, resembles her or even has the same characteristics as her. I think beauty is for everyone,” the 19-year-old model says.

To read more, go to: LOOK: Halima Aden Slays as First Hijab-Wearing Woman to Cover Vogue | Colorlines

Photo of Jazz Legend Ella Fitzgerald Going on Display at National Portrait Gallery Museum in D.C.

via blackamericaweb.com

WASHINGTON (AP) — The National Portrait Gallery is putting up a photograph of American jazz singer Ella Fitzgerald, often referred to as “The First Lady of Song.”

The portrait is on view beginning Thursday, ahead of the 100th anniversary of Fitzgerald’s birth. Fitzgerald, who died in 1996 at the age of 79, would have celebrated her 100th birthday April 25.

The National Portrait Gallery said in a statement the photograph on display is of Fitzgerald in performance flanked by Ray Brown, Dizzy Gillespie and Milt Jackson. It was taken around 1974 by William Gottlieb, who learned to use a camera to take pictures to accompany his weekly music column for The Washington Post. It’s the first time the photograph has been displayed at the museum.

It will be on view through May 14.

Source: Photo Of Ella Fitzgerald Going On Display At DC Museum | Black America Web

“The HeLa Project” Exhibition Travels to NY, ATL to Honor Mortal Life of Henrietta Lacks Before Premiere of HBO Film

(image via wn.com)

article by Lori Lakin Hutcherson (@lakinhutcherson)

Exhibition to Feature Artist Kadir Nelson and Poet Saul Williams.

HBO recently announced the official launch of “The HeLa Project,” a culturally-grounded, multi-media exhibition inspired by the highly-anticipated HBO film, “The Immortal Life of Henrietta Lacks,” starring Oprah Winfrey and Rose Byrne, which will premiere on April 22. Directed by George C. Wolfethe film is based on Rebecca Skloot’s critically acclaimed New York Times bestseller of the same name.

The film tells the true story of Henrietta Lacks, an African-American woman whose cells were used to create the first immortal human cell line that ultimately led to unprecedented medical breakthroughs, changing countless lives and the face of medicine forever.

“The HeLa Project” is designed to celebrate Henrietta Lacks, the woman – to give her a voice and to humanize and recognize her. The exhibition features an original portrait by two-time Caldecott Honor Award winning artist Kadir Nelson and an original poem by Saul Williams. Additional art, curated by Lewis Long of Long Gallery Harlem, includes works by Derrick Adams, Zoe Buckman, Madeleine Hunt Ehrlich, Doreen Garner, and Tomashi Jackson.  The product of these elements, plus an educational, sculptural installation about the HeLa cells, all converge in this engaging experience.

(image vialewis museum.org)

The  exhibition debuted last week in Baltimore at the Reginald Lewis Museum, and  will run April 7th – April 9th in SoHo, New York (465 W. Broadway, Fri – Sat, 11am – 7pm, Sun 12pm – 5pm).

“The HeLa Project” will be making additional stops in Atlanta, GA on April 13th – April 16th at the National Center for Civil and Human Rights.

BLACK HISTORY MONTH: Cornell University Makes 19th Century Black America Photo Archive Available to Public


article via theguardian.com

Cornell University in New York has made a priceless photographic archive available to the public.  It shows the lives of black Americans as they rose through society after the antebellum era. To see all photographs, go to: Loewentheil Collection of African American Photographs

To see original article, go to: A taste of freedom: black America in the 19th century – in pictures | Art and design | The Guardian

FATHER’S DAY: Powerful Photos That Challenge Prejudiced Notions of Black Fatherhood

These Powerful Photos Will Challenge All Your Notions of Black Fatherhood

Image Credit: Campaign for Black Male Achievement

“Harlem Is Nowhere,” an Artistic Collaboration Between Gordon Parks and Ralph Ellison, on Display at Art Institute of Chicago Until August 28

“Untitled” (Harlem, New York), 1952 (THE GORDON PARKS FOUNDATION)

article by Tamara Best via nytimes.com

Masters of their fields, the photographer Gordon Parks and the writer Ralph Ellison bonded over a shared vision of using their creative talents to address racial injustice. That commitment led to the powerful, enduring 1952 photo essay “A Man Becomes Invisible.”

But that Life magazine project was not their only collaboration. A new exhibition, “Invisible Man: Gordon Parks and Ralph Ellison in Harlem,” for the first time shows images from a lesser-known 1948 project of theirs, “Harlem Is Nowhere.” On view through Aug. 28 at the Art Institute of Chicago, the exhibition offers the two men’s counternarrative (the reality, that is) of the living conditions of black Americans during that time. Among the show’s more than 50 objects — the known surviving material belonging to both “A Man Becomes Invisible” and “Harlem Is Nowhere” — are newly discovered images, photographs that have never been exhibited and items that had not been definitely identified as belonging to either project.

The black-and-white photographs are vignettes of life in Harlem: street scenes of adults and children; political advocacy in real time; and imagined scenes from “Invisible Man,” Ellison’s watershed 1952 novel. The photographs are placed next to the passages that correspond with them, giving a sense of the tight collaborative process. Among the other highlights are drafts of captions for “Harlem Is Nowhere,” and images include a man in an alleyway; Harlem in literal ruin with a clinic building acting as a bright light; and a patient waiting to be seen, sitting in solitude, head in his hands.

Ellison and Parks “lived parallel lives, and they intersect in a creative splendor,” Adam Bradley, an associate professor at the University of Colorado, Boulder, who has written about Ellison’s work, said in a telephone interview. “They both understood the capacity of dark and light, light and shadow, black and white.”

These artists were compelled to focus on Harlem, their adopted home, which despite being the center of a cultural revival during the Harlem Renaissance, suffered a great economic toll tied to the Depression. They also witnessed the mounting postwar frustrations among their neighbors, black men who had been enlisted to fight but whose freedoms remained limited upon their return home.

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