With just a few more days until its release, Marvel‘s next installment into their cinematic universe, Black Panther, has already started shaping the imaginations of a generation of kids.
London-based Nigerian photographer Àsìkò, who goes by @asiko_artist on social media, decided to highlight this by recreating the sensational character posters with kids inspired by the film. Àsìkò shared a few individual pictures from the series on Instagram and wrote about why Black Panther matters and what it means to him as comic lover.
“As a kid who read comics black panther was one of the very few superheroes I came across,” he wrote. “For a child it is a beautiful thing to see yourself represented in a positive light in pop culture. What is also great is that it’s a hero steeped in culture and heritage and not drug deals or street thugging.”
“The images are inspired by the movie character posters and will be displayed at the BFI on its opening film night this Friday evening,” he added.
Àsìkò wrote that the photos were commissioned by the Talent Agency @lookslikemeuk. On his page, he posted a series of pictures featuring young kids channeling characters from the film, along with captions that include moving letters from fans on why black representation in film matters.
His niece Cherylann O’Garro, who announced the death, said his family did not yet know the cause.
In more than four decades at The Times, Mr. Charles photographed a wide range of subjects, from local hangouts to celebrities to fashion to the United Nations. But he may be best remembered for the work that earned him early acclaim: his photographs of key moments and figures of the civil rights era.
In 1964, he took a now-famous photograph, for Ebony magazine, of Malcolm X holding a rifle as he peered out of the window of his Queens home. In 1968, for The Times, he photographed Coretta Scott King, her gaze fixed in the distance, at the funeral of her husband, the Rev. Dr. Martin Luther King Jr.
Mr. Charles resisted being racially pigeonholed but also considered it a duty to cover the movement, said Chester Higgins, who joined The Times in 1975 as one of its few other black photographers.
“He felt that his responsibility was to get the story right, that the white reporters and white photographers were very limited,” Mr. Higgins, who retired in 2015, said in a telephone interview.
Even in New York, historically black neighborhoods like Harlem, where Mr. Charles lived, were often covered with little nuance, said James Estrin, a longtime staff photographer for The Times and an editor of the photojournalism blog Lens. But Mr. Charles, through his photography, provided readers a fuller portrait of life throughout those parts of the city, Mr. Estrin said.
“Few people on staff had the slightest idea what a large amount of New York was like,” he added. “He brought this reservoir of knowledge and experience of New York City.”
Exacting and deeply private, Mr. Charles came off as standoffish to some. But to others, especially many women, he was a supportive mentor.
“He’s going to give you the bear attitude, but if you look past that he was something else,” said Michelle Agins, who met Mr. Charles while she was a freelance photographer in Chicago and he was working in The Times’s bureau there.
The two reconnected when she joined The Times as a staff photographer in 1989.
“When you’re a new kid at The New York Times and you needed a big brother, he was all of that,” she said. “He was definitely the guy to have on your team. He wouldn’t let other people bully you.”
Mr. Charles took Ms. Agins under his wing, and she was not alone. “I’ve had many women photographers tell me that he stood up for them,” Mr. Estrin said.
That may be because Mr. Charles knew the hardships that came with belonging to a group that was underrepresented in the workplace.
At one Thanksgiving dinner decades ago, Ms. O’Garro said, he tearfully described the pain he felt on arriving at a New York City store for an assignment, only to be asked to come in through a back entrance. She added that while covering the civil rights movement in the South, he would often check the tailpipe of his vehicle for explosives.
Despite those obstacles, Mr. Charles went on to have a long career at The Times, covering subjects including celebrities like John Lennon and Muhammad Ali and New York institutions like the United Nations. In 1996, four of his photographs were included in an exhibition at the Museum of Modern Art on a century of photography from The Times.
Daniel James Charles (he later went by Donald or Don) was born in New York City on Sept. 9, 1938. His parents, James Charles and the former Elizabeth Ann Hogan, were immigrants from the Caribbean, Ms. O’Garro said.
After graduating from George Washington High School in Manhattan, he enrolled at the City College of New York as an engineering student before dropping out to pursue photography, although at the time it was just a hobby. He worked as a freelance photographer before joining The Times in 1964. He retired in 2007.
Mr. Charles never married and had no children. No immediate family members survive, though he was close with his three nieces and one nephew.
The National Museum of African American History and Culture (NMAAHC) in Washington D.C. harbors pieces of history that illustrate the story of the Black experience in America, and now the institution is giving African American families the opportunity to preserve memories of their own, The Baltimore Sun reported.
The museum launched a free program—dubbed the Community Curation Program—which provides Black families with the tools and equipment needed to preserve old photographs and footage by converting them into digital records, the news outlet writes. The program is supported by the Robert Frederick Smith Fund and travels to different cities across the country. The museum also provides the same equipment at the institution in Washington. One of the project’s latest stops was at the Impact Hub Baltimore in Station North, Maryland.
“In a very radical way, we recognize the importance of these vernacular, homemade images, this folk cinema, as an alternate history to the kinds of history that the mass media tells,” museum media archivist Walter Forsberg told The Baltimore Sun. “We wanted to render a public service free of charge because we knew there was a lot of material out there trapped on obsolete formats.”
Krewasky A. Salter, another museum curator, told the news outlet that the museum hopes to include some of the images, footage, and objects in their upcoming exhibitions; stating that the content provided by families will help fill in missing gaps in history. Several families have already taken advantage of the resource. Individuals who have digitized their family mementos say that the Community Curation Program has allowed them to weave their personal family stories into the larger fabric of Black history in a significant way. “These are stories in my family, and now I can share them with others,” said Pia Jordan, assistant professor at the School of Global Journalism and Communication at Morgan State University, according to the source.
The National Museum of African American History has been dedicated to capturing the essence of all facets of Black culture. The institution is currently working on crowd fundraising for a hip-hop anthology that will delve into the influence of Black music and African American culture on the world.
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.
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.
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.
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. Wolfe, the 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.
The exhibition debuted last week in Baltimore at the Reginald Lewis Museum, and will run April 7th – April 9thin 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 theNational Center for Civil and Human Rights.
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
According to mic.com, even though research from the U.S. government shows that common myths about absentee black fathers are false, they persist. To challenge those myths, the Campaign for Black Male Achievement released a series of photos highlighting black family life.
The campaign coupled each photo, shot by photographer Zun Lee, with a statistic from a CDC study about black fatherhood:
1. Black dads are more involved with their kids on a daily basis than dads from other racial groups.
2. Black fathers ate meals with their young children more than their white and Latino counterparts.
3. Black fathers also escorted their 5-to-18-year-old children to activities more than fathers of other races.
4. More black fathers live with their kids than live apart from them.
5. Over 70 percent of black dads bathe, diaper or dress their children every day.
6. For those black fathers who did live separate from their children, they read to their kids, changed diapers and helped with homework more often than other dads.
7. A higher percentage of black fathers — 40.6 percent — help with homework or check homework than white fathers.
8. A higher percentage of black fathers — 34.9 percent — read to their kids daily than white fathers.
Twitter users who wish to contribute to fighting myths of black fatherhood have used the hashtag #BlackMaleReimagined to share their own photos.
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.