The Big Review | Working Together: the photographers of the Kamoinge Workshop theartnewspaper.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theartnewspaper.com Daily Mail and Mail on Sunday newspapers.
Adger Cowans,
Footsteps, 1960. (Courtesy of Virginia Museum of Fine Arts, Aldine S. Hartman Endowment Fund / The Whitney Museum of American Art)
When the Kamoinge Workshop began in 1963, taking its name from a Kikuyu word meaning “a group of people acting together,” a few Black photographers had already gained some prominence. Gordon Parks was probably chief among them. After starting as a portraitist in Chicago, he had gone on to work during the war years with the renowned photography program of the Farm Security Administration, best known for sending the likes of Walker Evans and Dorothea Lange to document everyday rural life during the Depression; in postwar Harlem he went to work for
Being at the Whitney is a great thing Bridgeport photographer Adger Cowans says
Joel Lang
FacebookTwitterEmail Momma s Ohio Piano by Adger Cowans.Courtesy of Adger Cowans and Virginia Museum of Fine Arts / Contributed photo
A new exhibit at the Whitney Museum of American Art celebrates a group of 14 mostly amateur photographers who in the early 1960s in Harlem founded what came to be called the Kamoinge Collective, determined to remake the image of Black America.
Unique among them is Bridgeport’s own Adger Cowans. Then the group’s lone professional with art school training, Cowans has lived in the Read’s Artspace Building since 2006 and at age 84 remains very active.
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Reviews - January 14, 2021
In 2016, on the occasion of an exhibition of the photographs of Louis Draper at Steven Kasher Gallery, Hyperallergic critic John Yau asked, “Does the Museum of Modern Art Even Know about This Great Photographer?” Apparently, they didn’t. Although Draper, who had died in 2002, was a prominent Black photographer and one-time president of the Kamoinge Workshop, there was little evidence that New York’s august Museum of Modern Art (MoMA) had paid much attention. MoMA’s communications director tersely informed Yau that the museum did, indeed, own photographs by Draper and other members of the Kamoinge Workshop. But they had been consigned to what was unceremoniously called the “study collection” work deemed “not appropriate for acquisition to the Collection.”