East Bay Street Photographers Want You to Take ‘Notice’
A Photographer Documented Black Cowboys Across the U.S. for a New Book
Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97
San Jose's Japantown Highlights Underground Scene With 'Photo Night'
‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era
At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling
D-Ray’s Photo Archive is West Coast Hip-Hop Gold
The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s
SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses
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Street Photography Collective, and is curated by pablo circa and Demondre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","status":"publish","parent":0,"modified":1714504337,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":530},"headData":{"title":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","description":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"East Bay Street Photographers Want You to Take ‘Notice’","datePublished":"2024-04-25T19:10:36.000Z","dateModified":"2024-04-30T19:12:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956615","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demondre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_820","arts_11374","arts_8167","arts_10278","arts_1143","arts_822","arts_585"],"featImg":"arts_13956621","label":"arts_140"},"arts_13956604":{"type":"posts","id":"arts_13956604","meta":{"index":"posts_1591205157","site":"arts","id":"13956604","score":null,"sort":[1713986477000]},"guestAuthors":[],"slug":"black-cowboys-book-review-eight-seconds-rodeo-culture-ivan-mcclellan-photography","title":"A Photographer Documented Black Cowboys Across the U.S. for a New Book","publishDate":1713986477,"format":"standard","headTitle":"A Photographer Documented Black Cowboys Across the U.S. for a New Book | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>As a child growing up in Kansas City, Ivan McClellan would sing the national anthem at the \u003ca href=\"https://www.americanroyal.com/rodeo/\">American Royal\u003c/a> rodeo with a youth choir. Those performances are some of his fondest memories, but they’re also bittersweet.\u003c/p>\n\u003cp>[aside postid='arts_13939278']That’s because just about everybody else around him was white.\u003c/p>\n\u003cp>“It wasn’t a place that we felt like we belonged,” McClellan told \u003cem>Morning Edition\u003c/em> host \u003ca href=\"https://www.npr.org/people/1018429547/a-martinez\">A Martínez\u003c/a>.\u003c/p>\n\u003cp>Learning about Black rodeos as an adult came as a revelation to him. McClellan spent nearly a decade documenting this unique culture all across the United States.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_03_sq-acafa9119030ddf411da2cab26a000dc19d00146.jpg?s=1200&c=75&f=jpeg\" alt=\"Two young Black men seen in a wooded area at dusk, standing on the backs of two horses.\" width=\"1200\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Rodney & RJ, McCalla, Ala.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>His forthcoming photobook, \u003ca href=\"https://www.barnesandnoble.com/w/eight-seconds-miss-rosen/1144643838?ean=9788862088121\">\u003cem>Eight Seconds: Black Rodeo Culture\u003c/em>\u003c/a>, out April 30, features highlights from that journey. The title refers to the minimum amount of time a rider has to stay on a horse or other livestock in order to register a score during a competition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of this beauty and energy and environment just stuck to me,” McClellan said about his first encounter with a Black rodeo. “I saw thousands of Black cowboys and they were doing the Cupid Shuffle in the desert and they were cooking turkey legs. And there were Black folks dressed like traditional cowboys. There were also Black folks riding their horses in Jordans and women riding with their braids blowing behind them and their hands with long acrylic nails clutching the reins.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_06_custom-d85e2c1b239ef70972128b1ddd896e5162adf770.jpg?s=1200&c=75&f=jpeg\" alt=\"Two Black men on horses race at high speeds around a sandy arena.\" width=\"1200\" height=\"930\">\u003cfigcaption class=\"wp-caption-text\">Riders pass a baton during a Pony Express relay race in Okmulgee, Okla.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>That event, \u003ca href=\"https://www.greencountryok.com/event/roy-leblanc-okmulgee-invitational-rodeo-%26-festival/69/\">the Roy Leblanc Invitational Rodeo in Oklahoma\u003c/a>, is one McClellan has come to dub “the Super Bowl of Black rodeos.” It is the oldest of its kind in the country.\u003c/p>\n\u003cp>[aside postid='arts_13955021']He began posting his photographs of the event online. As his social media audience grew, McClellan was soon traveling the country in search of similar happenings.\u003c/p>\n\u003cp>“There are Black cowboys pretty much everywhere. I mean, there are Black cowboys here in Portland, Ore., where I live, which I think is the last place that I would have expected to find them,” said McClellan, who now runs his own rodeo.\u003c/p>\n\u003cp>“I went all the way to Oklahoma to realize that there were cowboys up the road from me who have been there for four generations … You’d be hard pressed to find a part of America where there wasn’t at least some some portion of this culture.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_07_custom-0da721f05dccc9141ff2052b7e9719d3d118157d.jpg?s=1200&c=75&f=jpeg\" alt=\"A Black woman in a cowboy hat, shirt and jeans poses inside an industrial enclosure.\" width=\"1200\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Jadayia Kursh, Okmulgee, Okla.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>It’s a narrative largely shunned by Hollywood and the broader mass culture, where the cowboy is consistently portrayed as a white male, be it John Wayne, Val Kilmer or on TV series like \u003cem>Bonanza\u003c/em> (1959-73) and \u003cem>Gunsmoke\u003c/em> (1955-75).\u003c/p>\n\u003cp>Up until a few years ago, “I really thought that term [cowboy] was a joke when applied to a Black person,” McClellan said.\u003c/p>\n\u003cp>In fact, the term was once a pejorative for African Americans working on ranches and farms, while white cowboys were known as “cowhands.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_08_custom-f5fa59efb45a4fb53276ba52a59684a8cc36fcc9.jpg?s=1200&c=75&f=jpeg\" alt=\"A Black man lies flat along a horse's back, his hat flying off behind him, as he struggles to stay on the bucking horse.\" width=\"1200\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Patrick Liddell, Las Vegas, Nevada.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>But ultimately, cowboy became “a shorthand for our noblest ideals,” McClellan said. “A lot of these things our popular culture is hesitant to attribute to a Black person. So I think to have a cowboy rushing in, saving the day with a black face just didn’t jibe with the stories that Hollywood was trying to tell. I think it’s erasure. I think it’s at best, laziness, at worst, very intentional and malicious. But I’m excited to see that transforming before my eyes.”\u003c/p>\n\u003cp>Beyoncé’s recent country-influenced album \u003ca href=\"https://www.youtube.com/watch?v=x9XHMK3nWr4\">\u003cem>Cowboy Carter\u003c/em>\u003c/a> is the latest iteration of that push for change in popular culture. Lil Nas X challenged the country genre in 2018 with his song “\u003ca href=\"https://www.youtube.com/watch?v=r7qovpFAGrQ\">Old Town Road.\u003c/a>” It became a viral hit after sparking widespread conversations \u003ca href=\"https://www.npr.org/2019/04/05/710021098/lil-nas-x-country-musics-unlikely-son-sparks-conversation-on-genre-and-race\">about genre gatekeeping and Black musicians’ place within country culture\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_09_custom-d069a736f1be991e2c90579b2e603ca412549042.jpg?s=1200&c=75&f=jpeg\" alt=\"Two young Black men in full cowboy regalia stand behind a fence in a large warehouse, watching the distance intently. An older Black man stands at their side doing the same.\" width=\"1200\" height=\"894\">\u003cfigcaption class=\"wp-caption-text\">Bull Riders, Rosenberg, Texas.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>“It was a perfect alley-oop. And Beyoncé is hanging on the rim right now,” said McClellan. “Beyoncé is not only revealing Black cowboy culture, but she’s transforming country music forever and tearing down genres in a way that that I don’t think has ever been done.”\u003c/p>\n\u003cp>[aside postid='arts_13939314']For McClellan, there’s now one place where he keeps returning over and over.\u003c/p>\n\u003cp>“As far as cultural impact, there’s nothing like the Roy LeBlanc Invitational Rodeo,” he said. “On the second weekend in August at about 8 p.m. when the sun is going down, everything is gold and all the athletes are filing into the arena for the grand entry. And that is where I like to take photos more than anywhere else on the entire planet.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_04_custom-6997682f2f6e5a0d922046c6178e1759c11b9ebd.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black woman in a fringed red shirt and black cowboy hat decorated with a tiara sits on horseback comfortably holding reins.\" width=\"1200\" height=\"930\">\u003cfigcaption class=\"wp-caption-text\">Rodeo Queen, Okmulgee, Okla.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The broadcast version of this story was produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/896256272/lilly-quiroz\">\u003cem>Lilly Quiroz\u003c/em>\u003c/a>\u003cem>. The digital version was edited by Obed Manuel.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ivan McClellan’s ‘Eight Seconds: Black Rodeo Culture’ puts Black cowboys — male and female — front and center.","status":"publish","parent":0,"modified":1714671440,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":842},"headData":{"title":"‘Eight Seconds: Black Rodeo Culture’ Spotlights Black Cowboys | KQED","description":"Ivan McClellan’s ‘Eight Seconds: Black Rodeo Culture’ puts Black cowboys — male and female — front and center.","ogTitle":"A Photographer Documented Black Cowboys Across the U.S. for a New Book","ogDescription":"","ogImgId":"","twTitle":"A Photographer Documented Black Cowboys Across the U.S. for a New Book","twDescription":"","twImgId":"","socialTitle":"‘Eight Seconds: Black Rodeo Culture’ Spotlights Black Cowboys %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Photographer Documented Black Cowboys Across the U.S. for a New Book","datePublished":"2024-04-24T19:21:17.000Z","dateModified":"2024-05-02T17:37:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Olivia Hampton, NPR","nprStoryId":"1246716227","nprHtmlLink":"https://www.npr.org/2024/04/24/1246716227/black-cowboy-culture-ivan-mcclellan-photographer-8-seconds-book","nprRetrievedStory":"1","nprPubDate":"2024-04-24T05:00:45-04:00","nprStoryDate":"2024-04-24T05:00:45-04:00","nprLastModifiedDate":"2024-04-24T08:35:59-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2024/04/20240424_me_a_photographer_documented_black_cowboys_across_the_us_for_a_new_book.mp3?d=409&size=6559496&e=1246716227&t=progseg&seg=2&p=3","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956604/black-cowboys-book-review-eight-seconds-rodeo-culture-ivan-mcclellan-photography","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2024/04/20240424_me_a_photographer_documented_black_cowboys_across_the_us_for_a_new_book.mp3?d=409&size=6559496&e=1246716227&t=progseg&seg=2&p=3","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a child growing up in Kansas City, Ivan McClellan would sing the national anthem at the \u003ca href=\"https://www.americanroyal.com/rodeo/\">American Royal\u003c/a> rodeo with a youth choir. Those performances are some of his fondest memories, but they’re also bittersweet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939278","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That’s because just about everybody else around him was white.\u003c/p>\n\u003cp>“It wasn’t a place that we felt like we belonged,” McClellan told \u003cem>Morning Edition\u003c/em> host \u003ca href=\"https://www.npr.org/people/1018429547/a-martinez\">A Martínez\u003c/a>.\u003c/p>\n\u003cp>Learning about Black rodeos as an adult came as a revelation to him. McClellan spent nearly a decade documenting this unique culture all across the United States.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_03_sq-acafa9119030ddf411da2cab26a000dc19d00146.jpg?s=1200&c=75&f=jpeg\" alt=\"Two young Black men seen in a wooded area at dusk, standing on the backs of two horses.\" width=\"1200\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Rodney & RJ, McCalla, Ala.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>His forthcoming photobook, \u003ca href=\"https://www.barnesandnoble.com/w/eight-seconds-miss-rosen/1144643838?ean=9788862088121\">\u003cem>Eight Seconds: Black Rodeo Culture\u003c/em>\u003c/a>, out April 30, features highlights from that journey. The title refers to the minimum amount of time a rider has to stay on a horse or other livestock in order to register a score during a competition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of this beauty and energy and environment just stuck to me,” McClellan said about his first encounter with a Black rodeo. “I saw thousands of Black cowboys and they were doing the Cupid Shuffle in the desert and they were cooking turkey legs. And there were Black folks dressed like traditional cowboys. There were also Black folks riding their horses in Jordans and women riding with their braids blowing behind them and their hands with long acrylic nails clutching the reins.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_06_custom-d85e2c1b239ef70972128b1ddd896e5162adf770.jpg?s=1200&c=75&f=jpeg\" alt=\"Two Black men on horses race at high speeds around a sandy arena.\" width=\"1200\" height=\"930\">\u003cfigcaption class=\"wp-caption-text\">Riders pass a baton during a Pony Express relay race in Okmulgee, Okla.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>That event, \u003ca href=\"https://www.greencountryok.com/event/roy-leblanc-okmulgee-invitational-rodeo-%26-festival/69/\">the Roy Leblanc Invitational Rodeo in Oklahoma\u003c/a>, is one McClellan has come to dub “the Super Bowl of Black rodeos.” It is the oldest of its kind in the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955021","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He began posting his photographs of the event online. As his social media audience grew, McClellan was soon traveling the country in search of similar happenings.\u003c/p>\n\u003cp>“There are Black cowboys pretty much everywhere. I mean, there are Black cowboys here in Portland, Ore., where I live, which I think is the last place that I would have expected to find them,” said McClellan, who now runs his own rodeo.\u003c/p>\n\u003cp>“I went all the way to Oklahoma to realize that there were cowboys up the road from me who have been there for four generations … You’d be hard pressed to find a part of America where there wasn’t at least some some portion of this culture.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_07_custom-0da721f05dccc9141ff2052b7e9719d3d118157d.jpg?s=1200&c=75&f=jpeg\" alt=\"A Black woman in a cowboy hat, shirt and jeans poses inside an industrial enclosure.\" width=\"1200\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Jadayia Kursh, Okmulgee, Okla.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>It’s a narrative largely shunned by Hollywood and the broader mass culture, where the cowboy is consistently portrayed as a white male, be it John Wayne, Val Kilmer or on TV series like \u003cem>Bonanza\u003c/em> (1959-73) and \u003cem>Gunsmoke\u003c/em> (1955-75).\u003c/p>\n\u003cp>Up until a few years ago, “I really thought that term [cowboy] was a joke when applied to a Black person,” McClellan said.\u003c/p>\n\u003cp>In fact, the term was once a pejorative for African Americans working on ranches and farms, while white cowboys were known as “cowhands.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_08_custom-f5fa59efb45a4fb53276ba52a59684a8cc36fcc9.jpg?s=1200&c=75&f=jpeg\" alt=\"A Black man lies flat along a horse's back, his hat flying off behind him, as he struggles to stay on the bucking horse.\" width=\"1200\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Patrick Liddell, Las Vegas, Nevada.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>But ultimately, cowboy became “a shorthand for our noblest ideals,” McClellan said. “A lot of these things our popular culture is hesitant to attribute to a Black person. So I think to have a cowboy rushing in, saving the day with a black face just didn’t jibe with the stories that Hollywood was trying to tell. I think it’s erasure. I think it’s at best, laziness, at worst, very intentional and malicious. But I’m excited to see that transforming before my eyes.”\u003c/p>\n\u003cp>Beyoncé’s recent country-influenced album \u003ca href=\"https://www.youtube.com/watch?v=x9XHMK3nWr4\">\u003cem>Cowboy Carter\u003c/em>\u003c/a> is the latest iteration of that push for change in popular culture. Lil Nas X challenged the country genre in 2018 with his song “\u003ca href=\"https://www.youtube.com/watch?v=r7qovpFAGrQ\">Old Town Road.\u003c/a>” It became a viral hit after sparking widespread conversations \u003ca href=\"https://www.npr.org/2019/04/05/710021098/lil-nas-x-country-musics-unlikely-son-sparks-conversation-on-genre-and-race\">about genre gatekeeping and Black musicians’ place within country culture\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_09_custom-d069a736f1be991e2c90579b2e603ca412549042.jpg?s=1200&c=75&f=jpeg\" alt=\"Two young Black men in full cowboy regalia stand behind a fence in a large warehouse, watching the distance intently. An older Black man stands at their side doing the same.\" width=\"1200\" height=\"894\">\u003cfigcaption class=\"wp-caption-text\">Bull Riders, Rosenberg, Texas.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>“It was a perfect alley-oop. And Beyoncé is hanging on the rim right now,” said McClellan. “Beyoncé is not only revealing Black cowboy culture, but she’s transforming country music forever and tearing down genres in a way that that I don’t think has ever been done.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939314","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For McClellan, there’s now one place where he keeps returning over and over.\u003c/p>\n\u003cp>“As far as cultural impact, there’s nothing like the Roy LeBlanc Invitational Rodeo,” he said. “On the second weekend in August at about 8 p.m. when the sun is going down, everything is gold and all the athletes are filing into the arena for the grand entry. And that is where I like to take photos more than anywhere else on the entire planet.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/23/ivan_mcclellan_04_custom-6997682f2f6e5a0d922046c6178e1759c11b9ebd.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black woman in a fringed red shirt and black cowboy hat decorated with a tiara sits on horseback comfortably holding reins.\" width=\"1200\" height=\"930\">\u003cfigcaption class=\"wp-caption-text\">Rodeo Queen, Okmulgee, Okla.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The broadcast version of this story was produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/896256272/lilly-quiroz\">\u003cem>Lilly Quiroz\u003c/em>\u003c/a>\u003cem>. The digital version was edited by Obed Manuel.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956604/black-cowboys-book-review-eight-seconds-rodeo-culture-ivan-mcclellan-photography","authors":["byline_arts_13956604"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_1050","arts_22110","arts_822","arts_22111","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13956605","label":"arts_140"},"arts_13954236":{"type":"posts","id":"arts_13954236","meta":{"index":"posts_1591205157","site":"arts","id":"13954236","score":null,"sort":[1710782337000]},"guestAuthors":[],"slug":"photographer-david-johnson-obituary-san-francisco-black-culture","title":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","publishDate":1710782337,"format":"standard","headTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","status":"publish","parent":0,"modified":1710782439,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1070},"headData":{"title":"David Johnson, Photographer of Black Culture, Dies at 97 | KQED","description":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","ogTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","ogDescription":"","ogImgId":"","twTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","twDescription":"","twImgId":"","socialTitle":"David Johnson, Photographer of Black Culture, Dies at 97 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","datePublished":"2024-03-18T17:18:57.000Z","dateModified":"2024-03-18T17:20:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"photographer-david-johnson-who-chronicled-san-franciscos-black-culture-dies-at-97","nprByline":"Chloe Veltman","nprImageAgency":"Peg Skorpinski","nprStoryId":"1239005042","nprApiLink":"http://api.npr.org/query?id=1239005042&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/17/1239005042/photographer-david-johnson-san-francisco-black-culture-dead?ft=nprml&f=1239005042","nprRetrievedStory":"1","nprPubDate":"Sun, 17 Mar 2024 05:00:00 -0400","nprStoryDate":"Sun, 17 Mar 2024 05:00:44 -0400","nprLastModifiedDate":"Sun, 17 Mar 2024 05:00:44 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11957757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","authors":["byline_arts_13954236"],"categories":["arts_1","arts_835","arts_1564","arts_70"],"tags":["arts_1091","arts_822","arts_1146","arts_2996"],"featImg":"arts_13954238","label":"arts"},"arts_13952476":{"type":"posts","id":"arts_13952476","meta":{"index":"posts_1591205157","site":"arts","id":"13952476","score":null,"sort":[1709077668000]},"guestAuthors":[],"slug":"san-jose-japantown-photo-night-cukui","title":"San Jose's Japantown Highlights Underground Scene With 'Photo Night'","publishDate":1709077668,"format":"standard","headTitle":"San Jose’s Japantown Highlights Underground Scene With ‘Photo Night’ | KQED","labelTerm":{},"content":"\u003cp>San Jose’s Japantown is small but mighty — a few blocks’ stretch of small businesses that are often overlooked. But they never underdeliver.\u003c/p>\n\u003cp>\u003ca href=\"https://www.jtown.org/history\">Dating back to the early 20th century\u003c/a>, the neighborhood has long been a \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">hub of commerce and community\u003c/a> for Japanese Americans. Over the years, the core of Japantown has also diversified. It’s become a notable intersection for \u003ca href=\"https://www.kqed.org/sanjosefood\">San Jose’s richly vibrant food offerings \u003c/a>while also incubating one of the South Bay’s best underground scenes.\u003c/p>\n\u003cp>Currently, there’s a tiki lounge, a hidden shop up a narrow flight of stairs that stashes hard-to-find anime DVDs, sushi bars, hot pot restaurants, a slick barbershop, a recording studio, streetwear boutiques, art galleries and more. There are young artists, veteran designers, amateur photographers and general creatives kicking it and cross-pollinating their ideas.\u003c/p>\n\u003cfigure id=\"attachment_13952506\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952506 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591.jpg\" alt=\"Two people wearing colorful clothing wave at the camera while posing in front of an art exhibit.\" width=\"1920\" height=\"1693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-800x705.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-1020x899.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-1536x1354.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shalomy The Homie (left) and Vicky Quach show love at Alex Knowbody’s photo exhibit, titled “La Lucha Sigue,” displayed inside Cukui during last year’s “A Photo Night in Japantown.” \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among them, \u003ca href=\"https://www.instagram.com/cukui/\">Cukui\u003c/a> has been an anchoring presence since 2008. Built from the post–dot com imagination of Silicon Valley millennials, the clothing shop has survived gentrification for nearly two decades and continues to amplify Shark City’s unique offerings with streetwear rooted in Latinx, Asian and Polynesian cultures and tattoo aesthetics.\u003c/p>\n\u003cp>This is the legendary OG shop where \u003ca href=\"https://www.instagram.com/alexknowbody/?hl=en\">Alex Knowbody\u003c/a> — a Mexican American documentarian from East Side San Jose — got his jumpstart as an intern.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, March 9, Knowbody will co-facilitate the second annual “A Photo Night in Japantown” at Cukui and seven other businesses on Jackson Street. The event will be an organic, interconnected affair, featuring photography that aims to shine a light on San Jose’s subcultures and bring people together.\u003c/p>\n\u003cfigure id=\"attachment_13952504\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Los Jefes de 408 perform a live outdoor set at last year’s inaugural event. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cool to see certain spots like Cukui where it feels like Silicon Valley [tech culture] hasn’t taken over,” Knowbody says of the streetwear brand, which hosts a range of collaborative projects with local culture-pushers from all over the South Bay, including rappers like \u003ca href=\"https://www.instagram.com/reyresurreccion/\">Rey Resurreccion\u003c/a> and \u003ca href=\"https://www.instagram.com/ljames408\">LJames408\u003c/a>, and the air-freshener maker \u003ca href=\"https://www.fuchilafresheners.com/airfresheners/fuckice\">Fúchila\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13936639,arts_13904788']\u003c/span>\u003c/strong>\u003c/b>“Japantown is a big part of that,” he says. “There are big high-rise apartments around now, but we’re trying to keep the culture alive, not gentrified. We’re some like-minded folks with pure passion. I just want to get something going on in my city.”\u003c/p>\n\u003cp>In addition to Cukui, Empire Seven, Headliners, No Future Gallery, LNP Gallery, The Coterie Den, Paradox and Coldwater will also open their doors for Photo Night. The loosely themed exhibition will showcase the work of photographers like Knowbody and his main co-conspirators, \u003ca href=\"https://www.instagram.com/gooseneckmagazine/\">Gooseneck\u003c/a> and \u003ca href=\"https://www.instagram.com/doyouknowtheway/\">Abraham Menor\u003c/a>. It originally started as a simple idea to display each other’s photos and grew into the informal collective’s first-ever showing in 2023.\u003c/p>\n\u003cfigure id=\"attachment_13952505\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952505 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A series of photos are displayed inside Coldwater, one of Japantown’s streetwear boutiques that is often at the center of the local arts community. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Knowbody will be setting up a live photo space inside Coldwater, a shop owned by \u003ca href=\"https://www.kqed.org/arts/13936639/jubo-iguanas-filipino-burrito-juborrito-collaboration-san-jose\">three Filipino brothers known around town for inventing a Spam-and-garlic-tot burrito\u003c/a>. Their custom-apparel clothing store will transform into a makeshift studio space with a backdrop where visitors can get professional portraits taken. Meanwhile, another exhibit next door will feature Gooseneck’s photographs of San Jose’s low riders.\u003c/p>\n\u003cp>“Last year, [Menor] called me and wanted to have a show and get the block activated, and he asked me If I was down,” recalls Knowbody. “I technically had my first-ever solo show at Cukui, so it made sense. Now I’m super stoked to be a part of this and see Japantown be culturally represented for the whole city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Photo Night in Japantown’ will happen on Saturday, March 9, along Jackson Street in San Jose’s Japantown, from 4 to 7 p.m. Attendance is free.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The second annual event brings the city's photographers together for a neighborhood celebration.","status":"publish","parent":0,"modified":1709080137,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":728},"headData":{"title":"San Jose's Japantown Highlights Underground Scene With 'Photo Night' | KQED","description":"The second annual event brings the city's photographers together for a neighborhood celebration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose's Japantown Highlights Underground Scene With 'Photo Night'","datePublished":"2024-02-27T23:47:48.000Z","dateModified":"2024-02-28T00:28:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Arts & Culture","sourceUrl":"https://www.kqed.org/arts","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952476/san-jose-japantown-photo-night-cukui","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Jose’s Japantown is small but mighty — a few blocks’ stretch of small businesses that are often overlooked. But they never underdeliver.\u003c/p>\n\u003cp>\u003ca href=\"https://www.jtown.org/history\">Dating back to the early 20th century\u003c/a>, the neighborhood has long been a \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">hub of commerce and community\u003c/a> for Japanese Americans. Over the years, the core of Japantown has also diversified. It’s become a notable intersection for \u003ca href=\"https://www.kqed.org/sanjosefood\">San Jose’s richly vibrant food offerings \u003c/a>while also incubating one of the South Bay’s best underground scenes.\u003c/p>\n\u003cp>Currently, there’s a tiki lounge, a hidden shop up a narrow flight of stairs that stashes hard-to-find anime DVDs, sushi bars, hot pot restaurants, a slick barbershop, a recording studio, streetwear boutiques, art galleries and more. There are young artists, veteran designers, amateur photographers and general creatives kicking it and cross-pollinating their ideas.\u003c/p>\n\u003cfigure id=\"attachment_13952506\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952506 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591.jpg\" alt=\"Two people wearing colorful clothing wave at the camera while posing in front of an art exhibit.\" width=\"1920\" height=\"1693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-800x705.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-1020x899.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-36-scaled-e1708993242591-1536x1354.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shalomy The Homie (left) and Vicky Quach show love at Alex Knowbody’s photo exhibit, titled “La Lucha Sigue,” displayed inside Cukui during last year’s “A Photo Night in Japantown.” \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among them, \u003ca href=\"https://www.instagram.com/cukui/\">Cukui\u003c/a> has been an anchoring presence since 2008. Built from the post–dot com imagination of Silicon Valley millennials, the clothing shop has survived gentrification for nearly two decades and continues to amplify Shark City’s unique offerings with streetwear rooted in Latinx, Asian and Polynesian cultures and tattoo aesthetics.\u003c/p>\n\u003cp>This is the legendary OG shop where \u003ca href=\"https://www.instagram.com/alexknowbody/?hl=en\">Alex Knowbody\u003c/a> — a Mexican American documentarian from East Side San Jose — got his jumpstart as an intern.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, March 9, Knowbody will co-facilitate the second annual “A Photo Night in Japantown” at Cukui and seven other businesses on Jackson Street. The event will be an organic, interconnected affair, featuring photography that aims to shine a light on San Jose’s subcultures and bring people together.\u003c/p>\n\u003cfigure id=\"attachment_13952504\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-40-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Los Jefes de 408 perform a live outdoor set at last year’s inaugural event. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cool to see certain spots like Cukui where it feels like Silicon Valley [tech culture] hasn’t taken over,” Knowbody says of the streetwear brand, which hosts a range of collaborative projects with local culture-pushers from all over the South Bay, including rappers like \u003ca href=\"https://www.instagram.com/reyresurreccion/\">Rey Resurreccion\u003c/a> and \u003ca href=\"https://www.instagram.com/ljames408\">LJames408\u003c/a>, and the air-freshener maker \u003ca href=\"https://www.fuchilafresheners.com/airfresheners/fuckice\">Fúchila\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936639,arts_13904788","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>“Japantown is a big part of that,” he says. “There are big high-rise apartments around now, but we’re trying to keep the culture alive, not gentrified. We’re some like-minded folks with pure passion. I just want to get something going on in my city.”\u003c/p>\n\u003cp>In addition to Cukui, Empire Seven, Headliners, No Future Gallery, LNP Gallery, The Coterie Den, Paradox and Coldwater will also open their doors for Photo Night. The loosely themed exhibition will showcase the work of photographers like Knowbody and his main co-conspirators, \u003ca href=\"https://www.instagram.com/gooseneckmagazine/\">Gooseneck\u003c/a> and \u003ca href=\"https://www.instagram.com/doyouknowtheway/\">Abraham Menor\u003c/a>. It originally started as a simple idea to display each other’s photos and grew into the informal collective’s first-ever showing in 2023.\u003c/p>\n\u003cfigure id=\"attachment_13952505\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952505 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AKCUKILaLuchaSigueRecap-46-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A series of photos are displayed inside Coldwater, one of Japantown’s streetwear boutiques that is often at the center of the local arts community. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Knowbody will be setting up a live photo space inside Coldwater, a shop owned by \u003ca href=\"https://www.kqed.org/arts/13936639/jubo-iguanas-filipino-burrito-juborrito-collaboration-san-jose\">three Filipino brothers known around town for inventing a Spam-and-garlic-tot burrito\u003c/a>. Their custom-apparel clothing store will transform into a makeshift studio space with a backdrop where visitors can get professional portraits taken. Meanwhile, another exhibit next door will feature Gooseneck’s photographs of San Jose’s low riders.\u003c/p>\n\u003cp>“Last year, [Menor] called me and wanted to have a show and get the block activated, and he asked me If I was down,” recalls Knowbody. “I technically had my first-ever solo show at Cukui, so it made sense. Now I’m super stoked to be a part of this and see Japantown be culturally represented for the whole city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Photo Night in Japantown’ will happen on Saturday, March 9, along Jackson Street in San Jose’s Japantown, from 4 to 7 p.m. Attendance is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952476/san-jose-japantown-photo-night-cukui","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835"],"tags":["arts_11007","arts_14294","arts_1256","arts_822","arts_1084","arts_3001","arts_585"],"featImg":"arts_13953108","label":"source_arts_13952476"},"arts_13953013":{"type":"posts","id":"arts_13953013","meta":{"index":"posts_1591205157","site":"arts","id":"13953013","score":null,"sort":[1709056947000]},"guestAuthors":[],"slug":"raymond-cooper-oakland-photography-1970s-east-bay-photo-collective","title":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era","publishDate":1709056947,"format":"standard","headTitle":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When we look back on history, all too often we stay focused on the big events — the disasters, the elections, the assassinations. But when it comes to getting an accurate view of a bygone era, it’s almost always the footage of everyday occurrences that tells us the most.\u003c/p>\n\u003cp>[aside postid='arts_13950886']\u003cem>Raymond Cooper’s Oakland\u003c/em>, a photography collection currently on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a>, does just that. In Cooper’s images, we see snapshots of lives and characters, places and social events that vividly take us back to the streets and living rooms of 1970s Oakland. Two young men hanging on a street corner. Children posing with a parked Chrysler Sunbeam. A woman with a beautiful Afro smoking a cigarette on her porch. A Black cowboy riding through a parade.\u003c/p>\n\u003cfigure id=\"attachment_13953021\" class=\"wp-caption aligncenter\" style=\"max-width: 2251px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg\" alt=\"Two children sit on the floor of a comfortable living room. They are surrounded by green plants, a white lamp behind them. \" width=\"2251\" height=\"1676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg 2251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1536x1144.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-2048x1525.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1920x1430.jpg 1920w\" sizes=\"(max-width: 2251px) 100vw, 2251px\">\u003cfigcaption class=\"wp-caption-text\">Intimate family portraits are a high point of ‘Raymond Cooper’s Oakland.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images feel warm, familiar and intimate. They might not be of your friends and family, but they’ll make you think of the people who are. And their ability to take us to the least documented corners of the Town of 50 years ago is what makes them just a little bit magical.\u003c/p>\n\u003cp>The pictures on display represent an eclectic hodgepodge of Cooper’s two decades working as a photographer. (He also owned Sundance, a camera supply store on Webster Street.) In addition to Cooper’s street and home photography, there are some distinctly ’70s works of futuristic collage, a collection of fashion portraiture and some behind-the-scenes snaps, often involving hair stylists.\u003c/p>\n\u003cfigure id=\"attachment_13953026\" class=\"wp-caption aligncenter\" style=\"max-width: 1458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png\" alt=\"A young white man wearing short shorts and knee high tube socks plays an arcade game.\" width=\"1458\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png 1458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-768x512.png 768w\" sizes=\"(max-width: 1458px) 100vw, 1458px\">\u003cfigcaption class=\"wp-caption-text\">Little is known about most of the locations and subjects of Cooper’s photos, but they distinctly reflect the era in which they were taken. \u003ccite>(Courtesy of the East Bay Photo Collective/ Aja Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfgate.com/local/article/stolen-photos-reveal-1970s-oakland-17494418.php\">The story of how Cooper’s photography got this little renaissance\u003c/a> is a delightful one. In 2021, a skateboarder named Ben Tolford rescued several binders of slides that had been dumped next to a trashcan in Oakland. While studying them at home, he found a self-portrait of Cooper that had the photographer’s name on it. He also found a baby picture with the name Aja on it. Tolford used social media to locate her — Aja is Cooper’s daughter — and returned the slides, which had been stolen from her storage space. Many more of Cooper’s photos had previously been lost in a house fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s left of Cooper’s portfolio tells a colorful story about trends, community and belonging. It provides contemporary audiences with an on-the-ground view of everyday Oakland life half a century ago. And it brings back vivid memories for those who lived through it.\u003c/p>\n\u003cfigure id=\"attachment_13953030\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/raymondatsundance-scaled-e1708988629717.jpg\" alt=\"A slightly damaged photograph of a Black man on the phone inside a small business. He is waving to the photographer.\" width=\"1920\" height=\"1372\">\u003cfigcaption class=\"wp-caption-text\">Raymond Cooper working at his downtown Oakland photography supply store, Sundance. \u003ccite>(Courtesy of the East Bay Photo Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the exhibit’s opening party, an image featuring the downtown Oakland Doggie Diner prompted one man next to me to reminisce about the restaurant’s former proximity to a furniture store that sold, in his words, “the wildest furniture” and “you know, all that leopard print and shag.” Thanks to Raymond Cooper, that’s not so difficult to picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Raymond Cooper’s Oakland’ is on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a> (312 8th Street) through April 21, 2024. Aja Cooper will appear in conversation with ‘East Bay Yesterday’ host Liam O’Donoghue on April 5 at 7 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new exhibit by the East Bay Photo Collective presents one man's colorful view of 1970s Oakland.","status":"publish","parent":0,"modified":1709237066,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":602},"headData":{"title":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era | KQED","description":"A new exhibit by the East Bay Photo Collective presents one man's colorful view of 1970s Oakland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Raymond Cooper’s Oakland’ Tells Everyday Stories of a Bygone Era","datePublished":"2024-02-27T18:02:27.000Z","dateModified":"2024-02-29T20:04:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we look back on history, all too often we stay focused on the big events — the disasters, the elections, the assassinations. But when it comes to getting an accurate view of a bygone era, it’s almost always the footage of everyday occurrences that tells us the most.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Raymond Cooper’s Oakland\u003c/em>, a photography collection currently on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a>, does just that. In Cooper’s images, we see snapshots of lives and characters, places and social events that vividly take us back to the streets and living rooms of 1970s Oakland. Two young men hanging on a street corner. Children posing with a parked Chrysler Sunbeam. A woman with a beautiful Afro smoking a cigarette on her porch. A Black cowboy riding through a parade.\u003c/p>\n\u003cfigure id=\"attachment_13953021\" class=\"wp-caption aligncenter\" style=\"max-width: 2251px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953021\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg\" alt=\"Two children sit on the floor of a comfortable living room. They are surrounded by green plants, a white lamp behind them. \" width=\"2251\" height=\"1676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids.jpg 2251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1536x1144.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-2048x1525.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/kids-1920x1430.jpg 1920w\" sizes=\"(max-width: 2251px) 100vw, 2251px\">\u003cfigcaption class=\"wp-caption-text\">Intimate family portraits are a high point of ‘Raymond Cooper’s Oakland.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images feel warm, familiar and intimate. They might not be of your friends and family, but they’ll make you think of the people who are. And their ability to take us to the least documented corners of the Town of 50 years ago is what makes them just a little bit magical.\u003c/p>\n\u003cp>The pictures on display represent an eclectic hodgepodge of Cooper’s two decades working as a photographer. (He also owned Sundance, a camera supply store on Webster Street.) In addition to Cooper’s street and home photography, there are some distinctly ’70s works of futuristic collage, a collection of fashion portraiture and some behind-the-scenes snaps, often involving hair stylists.\u003c/p>\n\u003cfigure id=\"attachment_13953026\" class=\"wp-caption aligncenter\" style=\"max-width: 1458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png\" alt=\"A young white man wearing short shorts and knee high tube socks plays an arcade game.\" width=\"1458\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM.png 1458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-1.58.59-PM-768x512.png 768w\" sizes=\"(max-width: 1458px) 100vw, 1458px\">\u003cfigcaption class=\"wp-caption-text\">Little is known about most of the locations and subjects of Cooper’s photos, but they distinctly reflect the era in which they were taken. \u003ccite>(Courtesy of the East Bay Photo Collective/ Aja Cooper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfgate.com/local/article/stolen-photos-reveal-1970s-oakland-17494418.php\">The story of how Cooper’s photography got this little renaissance\u003c/a> is a delightful one. In 2021, a skateboarder named Ben Tolford rescued several binders of slides that had been dumped next to a trashcan in Oakland. While studying them at home, he found a self-portrait of Cooper that had the photographer’s name on it. He also found a baby picture with the name Aja on it. Tolford used social media to locate her — Aja is Cooper’s daughter — and returned the slides, which had been stolen from her storage space. Many more of Cooper’s photos had previously been lost in a house fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s left of Cooper’s portfolio tells a colorful story about trends, community and belonging. It provides contemporary audiences with an on-the-ground view of everyday Oakland life half a century ago. And it brings back vivid memories for those who lived through it.\u003c/p>\n\u003cfigure id=\"attachment_13953030\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/raymondatsundance-scaled-e1708988629717.jpg\" alt=\"A slightly damaged photograph of a Black man on the phone inside a small business. He is waving to the photographer.\" width=\"1920\" height=\"1372\">\u003cfigcaption class=\"wp-caption-text\">Raymond Cooper working at his downtown Oakland photography supply store, Sundance. \u003ccite>(Courtesy of the East Bay Photo Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the exhibit’s opening party, an image featuring the downtown Oakland Doggie Diner prompted one man next to me to reminisce about the restaurant’s former proximity to a furniture store that sold, in his words, “the wildest furniture” and “you know, all that leopard print and shag.” Thanks to Raymond Cooper, that’s not so difficult to picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Raymond Cooper’s Oakland’ is on display at the \u003ca href=\"https://www.ebpco.org/opw\">Oakland Photo Workshop\u003c/a> (312 8th Street) through April 21, 2024. Aja Cooper will appear in conversation with ‘East Bay Yesterday’ host Liam O’Donoghue on April 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615"],"tags":["arts_8530","arts_10342","arts_10278","arts_1143","arts_822","arts_769","arts_585"],"featImg":"arts_13953028","label":"arts_140"},"arts_13952117":{"type":"posts","id":"arts_13952117","meta":{"index":"posts_1591205157","site":"arts","id":"13952117","score":null,"sort":[1707853207000]},"guestAuthors":[],"slug":"zanele-muholi-sfmoma-eye-me-queer-south-african-photography","title":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling","publishDate":1707853207,"format":"standard","headTitle":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Walking through the initial galleries of the SFMOMA’s stunning new exhibit by queer South African photographer \u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi, \u003cem>Eye Me\u003c/em>\u003c/a>, one immediately notices Muholi’s capacity to wring emotions from their subjects’ hands.\u003c/p>\n\u003cp>There’s care implicit in how the subject of “ID Crisis” handles the bandage binding their breasts. The hands grasping before the subject’s genitals in “Aftermath” suggest fearfulness and self-protection — appropriate for an image built around a large upper thigh scar that was the result of a hate crime. And the hands in a series called “Brave Beauties” draw on the coquettish postures of fashion photography to stylize and dignify their trans women subjects. [ad fullwidth]\u003c/p>\n\u003cp>The way Muholi brings out personality and feeling through gestures speaks to the photographer’s gift for conveying emotional complexity. For 20 years, Muholi has practiced what they refer to as “visual activism” by exhaustively documenting queer Black life and culture in their native South Africa. They are known for developing lengthy relationships with their subjects — often photographing individuals again and again through their lives — and for working to empower subjects both during photo shoots and afterwards.\u003c/p>\n\u003cp>Quotes from the artist scattered throughout \u003cem>Eye Me\u003c/em> speak to Muholi’s aspirations to create a bounty of images for the queer community’s benefit: “This work is done to ensure that the next generation will be able to draw on a diverse, and queer, archive of images.”\u003c/p>\n\u003cfigure id=\"attachment_13952139\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg\" alt=\"A black-and-white photo of hands with hospital bracelets over plaied\" width=\"2560\" height=\"1778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-2048x1422.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1920x1334.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Hate Crimes Survivor I,’ from the series ‘Only Half the Picture,’ 2004. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Eye Me\u003c/em> is arranged in sections to cover five of the eight major photo series that Muholi has created to date. These images often tie to themes of coercion and violence against LGBTQ+ individuals — either centering the lives of survivors of sexual assault and hate crimes, or showing the ways queer and trans people experience joy and love in spite of efforts to deny them both. Although Muholi does photograph men, they focus mostly on women and femmes, and \u003cem>Eye Me\u003c/em> wafts with the fragrances of a multi-layered femininity, be it a lover’s protective, warning stare, two naked women in joking play or partners standing in a large bucket bathing themselves together. [aside postid='arts_13951888']\u003c/p>\n\u003cp>Muholi is drawn to patterns made by embracing bodies and entwined limbs. Their portrait of queer couple Musa Ngubane and Mabongi Ndlovu shows a hug in which hands and arms seem almost preternaturally connected. The shot of Katlego Mashiloane and Nosipho Lavuta bent over, bathing together, makes the pair’s backs look as though they are merging together into one.\u003c/p>\n\u003cp>This sense of cohesion makes these images feel so intimate, emotionally raw and powerful. \u003cem>Eye Me\u003c/em> can at times be an overwhelming experience for the intensity and quantity of emotions that permeate from virtually every shot in the show.\u003c/p>\n\u003cfigure id=\"attachment_13952142\" class=\"wp-caption aligncenter\" style=\"max-width: 2222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg\" alt=\"A black-and-white self-portrait of the artist with elaborate fabric framing their face.\" width=\"2222\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg 2222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1020x1175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1333x1536.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1777x2048.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1920x2212.jpg 1920w\" sizes=\"(max-width: 2222px) 100vw, 2222px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Somnyama Ngonyama II,’ Oslo, 2015. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The largest gallery in \u003cem>Eye Me\u003c/em> is reserved for work from Muholi’s magisterial series “Somnyama Ngonyama,” in which they took 365 self-portraits as a vast array of alter egos in locations around the world, from Kyoto to Charlottesville to Nuoro, Italy. Striking in their intricacy (see the dozens of combs carefully arrayed in Muholi’s hair for “Qiniso”) as well as provocative (for “Faniswa,” Muholi painted a uterus on their shoulder), the photographs show the artist often adopting postures of coiled power and great intensity.\u003c/p>\n\u003cp>For the exhibit, SFMOMA reproduced several of the images from this series to mural size, and the effect is electrifying. In a piece like “Manzi I,” the larger size gives audiences the chance to fully appreciate Muholi’s intricate interplay of textures and masterful arrangement of tones, and their facial expression of wariness, fatigue and resistance hits all the harder. [aside postid='arts_13950490']\u003c/p>\n\u003cp>No matter how abstract or timeless it aspires to be, all art is created and viewed within a cultural context. It feels complicated to experience \u003cem>Eye Me\u003c/em> in San Francisco — a part of the United States that remains relatively safe while much of the country unleashes a tide of anti-LGBTQ+ hatred. Even though South Africa is among the most progressive African nations when it comes to queer rights — in 1996 it became the first country in the world to put legal protections for LGBTQ+ people into its constitution — violence, poverty and fragility are basic constituents of Muholi’s artistic palette. It is hard not to wonder what everyday life is like for their subjects. Such questions lead inevitably back to thoughts of how Blackness and queerness are increasingly the subject of violence and depredation here in the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13952144\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952144\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Yaya Mavundla, Parktown, Johannesburg,’ from the series ‘Brave Beauties,’ 2014. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Muholi tends to shoot their photos in ways that abstract away the surrounding world, there is still a powerful sense of being granted glimpses into a community in which the hope for safety and dignity resonates. This is in part because Muholi so assiduously manages the signifiers of Blackness and queerness in their photos — for instance, in “Yaya Mavundla I,” a trans woman stands proud and elegant in a bra and miniskirt made from layers and layers of Saran Wrap. The sense of defiance in the face of invalidation and vulnerability is familiar, even as Mavundla’s body feels part of a queerness that hits very differently from what viewers in San Francisco might be accustomed to. This mixture makes \u003cem>Eye Me\u003c/em> feel necessary and vital.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi’s ‘Eye Me’\u003c/a> is on view at SFMOMA through Aug. 11, 2024. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Stylized portraits, spanning decades, show their subjects' care, love, self-protection and dignity. ","status":"publish","parent":0,"modified":1707853207,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1010},"headData":{"title":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling | KQED","description":"Stylized portraits, spanning decades, show their subjects' care, love, self-protection and dignity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SFMOMA, Zanele Muholi Documents South African Queer Life with Intense Feeling","datePublished":"2024-02-13T19:40:07.000Z","dateModified":"2024-02-13T19:40:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Veronica Esposito ","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking through the initial galleries of the SFMOMA’s stunning new exhibit by queer South African photographer \u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi, \u003cem>Eye Me\u003c/em>\u003c/a>, one immediately notices Muholi’s capacity to wring emotions from their subjects’ hands.\u003c/p>\n\u003cp>There’s care implicit in how the subject of “ID Crisis” handles the bandage binding their breasts. The hands grasping before the subject’s genitals in “Aftermath” suggest fearfulness and self-protection — appropriate for an image built around a large upper thigh scar that was the result of a hate crime. And the hands in a series called “Brave Beauties” draw on the coquettish postures of fashion photography to stylize and dignify their trans women subjects. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The way Muholi brings out personality and feeling through gestures speaks to the photographer’s gift for conveying emotional complexity. For 20 years, Muholi has practiced what they refer to as “visual activism” by exhaustively documenting queer Black life and culture in their native South Africa. They are known for developing lengthy relationships with their subjects — often photographing individuals again and again through their lives — and for working to empower subjects both during photo shoots and afterwards.\u003c/p>\n\u003cp>Quotes from the artist scattered throughout \u003cem>Eye Me\u003c/em> speak to Muholi’s aspirations to create a bounty of images for the queer community’s benefit: “This work is done to ensure that the next generation will be able to draw on a diverse, and queer, archive of images.”\u003c/p>\n\u003cfigure id=\"attachment_13952139\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg\" alt=\"A black-and-white photo of hands with hospital bracelets over plaied\" width=\"2560\" height=\"1778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-2048x1422.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/01_Zanele-Muholi_Hate-Crimes-Survivor-I_2004-1920x1334.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Hate Crimes Survivor I,’ from the series ‘Only Half the Picture,’ 2004. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Eye Me\u003c/em> is arranged in sections to cover five of the eight major photo series that Muholi has created to date. These images often tie to themes of coercion and violence against LGBTQ+ individuals — either centering the lives of survivors of sexual assault and hate crimes, or showing the ways queer and trans people experience joy and love in spite of efforts to deny them both. Although Muholi does photograph men, they focus mostly on women and femmes, and \u003cem>Eye Me\u003c/em> wafts with the fragrances of a multi-layered femininity, be it a lover’s protective, warning stare, two naked women in joking play or partners standing in a large bucket bathing themselves together. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951888","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muholi is drawn to patterns made by embracing bodies and entwined limbs. Their portrait of queer couple Musa Ngubane and Mabongi Ndlovu shows a hug in which hands and arms seem almost preternaturally connected. The shot of Katlego Mashiloane and Nosipho Lavuta bent over, bathing together, makes the pair’s backs look as though they are merging together into one.\u003c/p>\n\u003cp>This sense of cohesion makes these images feel so intimate, emotionally raw and powerful. \u003cem>Eye Me\u003c/em> can at times be an overwhelming experience for the intensity and quantity of emotions that permeate from virtually every shot in the show.\u003c/p>\n\u003cfigure id=\"attachment_13952142\" class=\"wp-caption aligncenter\" style=\"max-width: 2222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg\" alt=\"A black-and-white self-portrait of the artist with elaborate fabric framing their face.\" width=\"2222\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-scaled.jpg 2222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1020x1175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1333x1536.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1777x2048.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/11_Zanele-Muholi_Somnyama-Ngonyama-II_Oslo_2015-1920x2212.jpg 1920w\" sizes=\"(max-width: 2222px) 100vw, 2222px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Somnyama Ngonyama II,’ Oslo, 2015. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The largest gallery in \u003cem>Eye Me\u003c/em> is reserved for work from Muholi’s magisterial series “Somnyama Ngonyama,” in which they took 365 self-portraits as a vast array of alter egos in locations around the world, from Kyoto to Charlottesville to Nuoro, Italy. Striking in their intricacy (see the dozens of combs carefully arrayed in Muholi’s hair for “Qiniso”) as well as provocative (for “Faniswa,” Muholi painted a uterus on their shoulder), the photographs show the artist often adopting postures of coiled power and great intensity.\u003c/p>\n\u003cp>For the exhibit, SFMOMA reproduced several of the images from this series to mural size, and the effect is electrifying. In a piece like “Manzi I,” the larger size gives audiences the chance to fully appreciate Muholi’s intricate interplay of textures and masterful arrangement of tones, and their facial expression of wariness, fatigue and resistance hits all the harder. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950490","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No matter how abstract or timeless it aspires to be, all art is created and viewed within a cultural context. It feels complicated to experience \u003cem>Eye Me\u003c/em> in San Francisco — a part of the United States that remains relatively safe while much of the country unleashes a tide of anti-LGBTQ+ hatred. Even though South Africa is among the most progressive African nations when it comes to queer rights — in 1996 it became the first country in the world to put legal protections for LGBTQ+ people into its constitution — violence, poverty and fragility are basic constituents of Muholi’s artistic palette. It is hard not to wonder what everyday life is like for their subjects. Such questions lead inevitably back to thoughts of how Blackness and queerness are increasingly the subject of violence and depredation here in the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13952144\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952144\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/04_Zanele-Muholi_Yaya-Mavundla-Parktown-Johannesburg_2014-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zanele Muholi, ‘Yaya Mavundla, Parktown, Johannesburg,’ from the series ‘Brave Beauties,’ 2014. \u003ccite>(Courtesy of the artist and Yancey Richardson, New York; © Zanele Muholi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Muholi tends to shoot their photos in ways that abstract away the surrounding world, there is still a powerful sense of being granted glimpses into a community in which the hope for safety and dignity resonates. This is in part because Muholi so assiduously manages the signifiers of Blackness and queerness in their photos — for instance, in “Yaya Mavundla I,” a trans woman stands proud and elegant in a bra and miniskirt made from layers and layers of Saran Wrap. The sense of defiance in the face of invalidation and vulnerability is familiar, even as Mavundla’s body feels part of a queerness that hits very differently from what viewers in San Francisco might be accustomed to. This mixture makes \u003cem>Eye Me\u003c/em> feel necessary and vital.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/zanele-muholi-eye-me/\">Zanele Muholi’s ‘Eye Me’\u003c/a> is on view at SFMOMA through Aug. 11, 2024. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952117/zanele-muholi-sfmoma-eye-me-queer-south-african-photography","authors":["byline_arts_13952117"],"categories":["arts_1","arts_70"],"tags":["arts_3226","arts_822","arts_769","arts_1381"],"featImg":"arts_13952138","label":"arts"},"arts_13951122":{"type":"posts","id":"arts_13951122","meta":{"index":"posts_1591205157","site":"arts","id":"13951122","score":null,"sort":[1706725201000]},"guestAuthors":[],"slug":"d-ray-bay-area-hip-hop-photographer","title":"D-Ray’s Photo Archive is West Coast Hip-Hop Gold","publishDate":1706725201,"format":"standard","headTitle":"D-Ray’s Photo Archive is West Coast Hip-Hop Gold | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>D-Ray’s photographs are full of bright, lively images of MCs you know by just one name. Kendrick. Jeezy. Even nicknames: Weezy. Anytime she and Drake cross paths, they take selfies.\u003c/p>\n\u003cp>The late Nipsey Hussle not only knew \u003ca href=\"https://www.instagram.com/isawdray/\" target=\"_blank\" rel=\"noopener\">D-Ray\u003c/a>, he would request that she be present at his Bay Area events. She served as official photographer for the late great Mac Dre’s \u003ca href=\"https://www.kqed.org/arts/13930686/thizz-entertainment-dj-mix-mac-dre-vallejo-rap-hyphy\">Thizz Nation\u003c/a> label. And her work documenting Bay Area hip-hop culture has been featured in many documentaries and print media, including \u003ca href=\"https://issuu.com/ozonemag\" target=\"_blank\" rel=\"noopener\">\u003cem>Ozone\u003c/em>\u003c/a> magazine, where she worked as West Coast editor, and \u003cem>\u003ca href=\"https://issuu.com/mrshowcase2022\">Showcase\u003c/a>\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13931800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg\" alt=\"A man in a durag and football jersey holds his arms spread, with friends in the background\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, who D-Ray photographed abundantly. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, a special corner of D-Ray’s extensive archive — her images of the iconic late Pittsburg rapper The Jacka — go on public display. They’ll be surrounded by drawings, recordings, and other forms of art at \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">The Jacka Art Experience\u003c/a>, running Jan. 31–Feb. 3 at The Loom in Oakland. [aside postid='arts_13951091']\u003c/p>\n\u003cp>D-Ray’s photography documented the life of not only the artist known as The Jacka, but the human being, Shaheed Akbar, who was murdered on Feb. 2, 2015. D-Ray was there for his vibrant life as well as his memorial. She was also present for E-40 and Keak da Sneak’s “Tell Me When To Go” video shoot, Mistah F.A.B.’s rise to fame, turf dance battles at Youth Uprising and many other flashpoints of Bay Area culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And to think, this West Coast cultural historian could’ve been a cake decorator.\u003c/p>\n\u003cp>“I used to take pictures of my cakes,” D-Ray tells me during a phone call, emphasizing the amount of energy she put into perfecting each pastry. “I spent all the time doing this and these people are going to eat my fucking cake?!” D-Ray says, recalling her frustration. “That’s how I started taking pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up in Hayward, D-Ray was first introduced to the camera by her grandfather. She worked a few gigs, from cake decorator to doing fashion and retail, and a stint as manager at the Picture People photo studio in Alameda’s South Shore Shopping Center. She eventually came back to decorating cakes, until her husband, hip-hop manager \u003ca href=\"https://www.youtube.com/watch?v=8pCb3Inh-TA\">Gary Archer\u003c/a>, asked her a profound question: “How many angles of that cake are you going to take pictures of?’” [aside postID='arts_13932030']\u003c/p>\n\u003cp>Gary, who bought D-Ray a camera at the turn of the millennium so the couple could document their family, began working in partnership with D-Ray — she took photos of the artists he managed, like Mistah F.A.B. He also introduced her to the late \u003ca href=\"https://www.instagram.com/isawdray/p/CFCy3Xlst1c/?img_index=1\" target=\"_blank\" rel=\"noopener\">Frank Herrera\u003c/a>, head of \u003cem>Showcase\u003c/em> magazine, the first publication to feature D-Ray’s work on the front cover.\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before her photography career took off, D-Ray tells me, she used to go through a process of decorating cakes: making one, not liking its appearance, scraping it off and then redecorating it. “In photography you can’t do that,” she tells me. “You come home, you’re looking at a set of pictures and you’re like, ‘I could’ve did that better.'”\u003c/p>\n\u003cp>[aside postID='arts_13934874']So she learned how to do it well the first time.\u003c/p>\n\u003cp>Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured \u003cem>everything\u003c/em> through the years, and did it the best way possible, you know?”\u003c/p>\n\u003cp>Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13951134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png\" alt=\"Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1920x1272.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.\u003c/p>\n\u003cp>This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?\u003c/p>\n\u003cfigure id=\"attachment_13951129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png\" alt=\"Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1920x1270.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Keak’s house in the 70s in East Oakland, during \u003ca href=\"https://www.youtube.com/watch?v=jGoUezD5CxE\" target=\"_blank\" rel=\"noopener\">MTV’s \u003cem>My Block\u003c/em>\u003c/a>. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rap star Messy Marv poses for a photo. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> So \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\" target=\"_blank\" rel=\"noopener\">Messy (Marv)\u003c/a> got the cover of \u003cem>Showcase\u003c/em> magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.\u003c/p>\n\u003cp>This shot ended up in \u003cem>The Source\u003c/em> magazine, \u003cem>XXL\u003c/em>, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”\u003c/p>\n\u003cfigure id=\"attachment_13951131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png\" alt=\"A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-2048x1371.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1920x1286.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.\u003c/p>\n\u003cfigure id=\"attachment_13951132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png\" alt='The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild while on the set of the video for the hit song \"Tell Me When To Go\".' width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1920x1269.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.\u003c/p>\n\u003cp>I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.\u003c/p>\n\u003cfigure id=\"attachment_13951133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png\" alt=\"Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-2048x1367.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1920x1281.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> I spent like two weeks with \u003ca href=\"https://www.instagram.com/golasoaso/\" target=\"_blank\" rel=\"noopener\">Husalah\u003c/a> before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=YCLlU-8HsNE\" target=\"_blank\" rel=\"noopener\">When he was in prison\u003c/a>, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.\u003c/p>\n\u003cfigure id=\"attachment_13951130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png\" alt=\"The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-2048x1352.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1920x1268.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.\u003c/p>\n\u003cp>I have a thing with YU, those are all my kids. I don’t know him as “\u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener\">Ice Cold,\u003c/a>” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.\u003c/p>\n\u003cp>I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.\u003c/p>\n\u003cp>Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Jacka Art Experience runs Wednesday–Saturday, Jan. 31–Feb. 3, at the Loom in Oakland. \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jacka. Nipsey. FAB. 40. Drake. Keak. Wayne. You name 'em, they've probably been photographed by D-Ray.","status":"publish","parent":0,"modified":1706727149,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1783},"headData":{"title":"D-Ray’s Photo Archive is West Coast Hip-Hop Gold | KQED","description":"Jacka. Nipsey. FAB. 40. Drake. Keak. Wayne. You name 'em, they've probably been photographed by D-Ray.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"D-Ray’s Photo Archive is West Coast Hip-Hop Gold","datePublished":"2024-01-31T18:20:01.000Z","dateModified":"2024-01-31T18:52:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951122/d-ray-bay-area-hip-hop-photographer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>D-Ray’s photographs are full of bright, lively images of MCs you know by just one name. Kendrick. Jeezy. Even nicknames: Weezy. Anytime she and Drake cross paths, they take selfies.\u003c/p>\n\u003cp>The late Nipsey Hussle not only knew \u003ca href=\"https://www.instagram.com/isawdray/\" target=\"_blank\" rel=\"noopener\">D-Ray\u003c/a>, he would request that she be present at his Bay Area events. She served as official photographer for the late great Mac Dre’s \u003ca href=\"https://www.kqed.org/arts/13930686/thizz-entertainment-dj-mix-mac-dre-vallejo-rap-hyphy\">Thizz Nation\u003c/a> label. And her work documenting Bay Area hip-hop culture has been featured in many documentaries and print media, including \u003ca href=\"https://issuu.com/ozonemag\" target=\"_blank\" rel=\"noopener\">\u003cem>Ozone\u003c/em>\u003c/a> magazine, where she worked as West Coast editor, and \u003cem>\u003ca href=\"https://issuu.com/mrshowcase2022\">Showcase\u003c/a>\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13931800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg\" alt=\"A man in a durag and football jersey holds his arms spread, with friends in the background\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, who D-Ray photographed abundantly. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, a special corner of D-Ray’s extensive archive — her images of the iconic late Pittsburg rapper The Jacka — go on public display. They’ll be surrounded by drawings, recordings, and other forms of art at \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">The Jacka Art Experience\u003c/a>, running Jan. 31–Feb. 3 at The Loom in Oakland. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951091","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>D-Ray’s photography documented the life of not only the artist known as The Jacka, but the human being, Shaheed Akbar, who was murdered on Feb. 2, 2015. D-Ray was there for his vibrant life as well as his memorial. She was also present for E-40 and Keak da Sneak’s “Tell Me When To Go” video shoot, Mistah F.A.B.’s rise to fame, turf dance battles at Youth Uprising and many other flashpoints of Bay Area culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And to think, this West Coast cultural historian could’ve been a cake decorator.\u003c/p>\n\u003cp>“I used to take pictures of my cakes,” D-Ray tells me during a phone call, emphasizing the amount of energy she put into perfecting each pastry. “I spent all the time doing this and these people are going to eat my fucking cake?!” D-Ray says, recalling her frustration. “That’s how I started taking pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up in Hayward, D-Ray was first introduced to the camera by her grandfather. She worked a few gigs, from cake decorator to doing fashion and retail, and a stint as manager at the Picture People photo studio in Alameda’s South Shore Shopping Center. She eventually came back to decorating cakes, until her husband, hip-hop manager \u003ca href=\"https://www.youtube.com/watch?v=8pCb3Inh-TA\">Gary Archer\u003c/a>, asked her a profound question: “How many angles of that cake are you going to take pictures of?’” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932030","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gary, who bought D-Ray a camera at the turn of the millennium so the couple could document their family, began working in partnership with D-Ray — she took photos of the artists he managed, like Mistah F.A.B. He also introduced her to the late \u003ca href=\"https://www.instagram.com/isawdray/p/CFCy3Xlst1c/?img_index=1\" target=\"_blank\" rel=\"noopener\">Frank Herrera\u003c/a>, head of \u003cem>Showcase\u003c/em> magazine, the first publication to feature D-Ray’s work on the front cover.\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before her photography career took off, D-Ray tells me, she used to go through a process of decorating cakes: making one, not liking its appearance, scraping it off and then redecorating it. “In photography you can’t do that,” she tells me. “You come home, you’re looking at a set of pictures and you’re like, ‘I could’ve did that better.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934874","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>So she learned how to do it well the first time.\u003c/p>\n\u003cp>Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured \u003cem>everything\u003c/em> through the years, and did it the best way possible, you know?”\u003c/p>\n\u003cp>Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13951134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png\" alt=\"Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1920x1272.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.\u003c/p>\n\u003cp>This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?\u003c/p>\n\u003cfigure id=\"attachment_13951129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png\" alt=\"Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1920x1270.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Keak’s house in the 70s in East Oakland, during \u003ca href=\"https://www.youtube.com/watch?v=jGoUezD5CxE\" target=\"_blank\" rel=\"noopener\">MTV’s \u003cem>My Block\u003c/em>\u003c/a>. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rap star Messy Marv poses for a photo. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> So \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\" target=\"_blank\" rel=\"noopener\">Messy (Marv)\u003c/a> got the cover of \u003cem>Showcase\u003c/em> magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.\u003c/p>\n\u003cp>This shot ended up in \u003cem>The Source\u003c/em> magazine, \u003cem>XXL\u003c/em>, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”\u003c/p>\n\u003cfigure id=\"attachment_13951131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png\" alt=\"A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-2048x1371.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1920x1286.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.\u003c/p>\n\u003cfigure id=\"attachment_13951132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png\" alt='The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild while on the set of the video for the hit song \"Tell Me When To Go\".' width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1920x1269.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.\u003c/p>\n\u003cp>I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.\u003c/p>\n\u003cfigure id=\"attachment_13951133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png\" alt=\"Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-2048x1367.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1920x1281.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> I spent like two weeks with \u003ca href=\"https://www.instagram.com/golasoaso/\" target=\"_blank\" rel=\"noopener\">Husalah\u003c/a> before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=YCLlU-8HsNE\" target=\"_blank\" rel=\"noopener\">When he was in prison\u003c/a>, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.\u003c/p>\n\u003cfigure id=\"attachment_13951130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png\" alt=\"The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-2048x1352.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1920x1268.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.\u003c/p>\n\u003cp>I have a thing with YU, those are all my kids. I don’t know him as “\u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener\">Ice Cold,\u003c/a>” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.\u003c/p>\n\u003cp>I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.\u003c/p>\n\u003cp>Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jacka Art Experience runs Wednesday–Saturday, Jan. 31–Feb. 3, at the Loom in Oakland. \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951122/d-ray-bay-area-hip-hop-photographer","authors":["11491"],"categories":["arts_1","arts_69","arts_70"],"tags":["arts_8505","arts_19561","arts_1601","arts_10278","arts_831","arts_6975","arts_2173","arts_1768","arts_822","arts_21904","arts_21896","arts_19347"],"featImg":"arts_13951202","label":"source_arts_13951122"},"arts_13950886":{"type":"posts","id":"arts_13950886","meta":{"index":"posts_1591205157","site":"arts","id":"13950886","score":null,"sort":[1706191223000]},"guestAuthors":[],"slug":"oakland-tribune-first-black-photojournalist-exhibit-sf-public-library","title":"The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s","publishDate":1706191223,"format":"aside","headTitle":"The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13950890\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg\" alt=\"A woman wearing black boots and holding a bag stand on the sidewalk surrounded by buildings.\" width=\"2400\" height=\"2404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1533x1536.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-2045x2048.jpg 2045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1920x1923.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Woman in downtown San Francisco on Market Street. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know that curiosity that pops up sometimes when you’re in a gallery and you’re looking at a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really good\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> photo of a stranger? And the spirit of it, the everyday-ness of it, makes you want to know the person’s story? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Were they happy in life? What were their struggles? What was their day like before and after that picture was taken? Are they still alive? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the feeling I had looking at Kenneth P. Green Sr.’s photographs, now on display at the Jewett Gallery in San Francisco’s Main Public Library. \u003c/span>\u003cspan style=\"font-weight: 400\">The exhibition, titled \u003c/span>\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">\u003ci>\u003cspan style=\"font-weight: 400\">Toward a Black Aesthetic\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and on view through April 21, features Green Sr.’s mostly never-before-seen images capturing Bay Area Black women’s beauty and style in the 1960s and ’70s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There was a certain charisma and fashion that they left the house with, knowing that they had to represent themselves. Otherwise they were going to be ignored,” says Kenneth P. Green Jr., Green Sr.’s son and co-curator of the exhibition. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg\" alt=\"Black and white photo of a Black women in a white hat and stylish clothes draping a fur over her shoulder\" width=\"800\" height=\"995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-768x956.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1235x1536.jpg 1235w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1646x2048.jpg 1646w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1920x2389.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan modeling fashion. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. \u003c/span>\u003ca href=\"https://www.kennethpgreenphotography.org/\">\u003cspan style=\"font-weight: 400\">manages an archive\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of 80-plus-thousand negatives of his father’s photographs (and has digitized over 11,000 of them to date). Many are from Green Sr.’s time as the first Black staff photographer at the \u003cem>Oakland Tribune —\u003c/em> a role he held from 1968 until his untimely death in 1982 at age 40 while on a photo assignment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. has done exhibitions and projects involving his father’s collection before, mainly involving his father’s photographs of the Black Panther Party — some of which are part of the ongoing \u003c/span>\u003ca href=\"https://museumca.org/on-view/black-power/\">\u003cspan style=\"font-weight: 400\">Black Power exhibition\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Oakland Museum. But the woman-centered theme of this exhibition emerged when Green Jr. noticed something when looking through his father’s body of work. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I had more images, independent profile shots of Black women, than I had most anything,” Green Jr. says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Images like a group of Black women, young and old, dressed for church service in West Oakland. Black women running on Ocean Beach with the Cliff House visible in the background. A Black woman in a leopard-print jacket and knee-high boots sitting in the Merritt College cafeteria.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg\" alt=\"Seven nicely dressed Black women of various ages stand in a row on the street outside a building.\" width=\"800\" height=\"788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1536x1513.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-2048x2018.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1920x1892.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multiple women attending West Oakland Methodist Church in 1967. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I can definitely tell that my dad wanted to leave a record that white America wasn’t focused on documenting Black women in the ’60s and ’70s,” Green Jr. says. “But he made sure that he documented them at their best so that we could have a real record of what a Black woman and the aesthetic looks like.”\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shawna Sherman, manager of the library’s African American Center, says greenlighting the exhibition was a no-brainer once the team saw the images. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='pop_102326,arts_13936457,arts_13920049']“You could tell that Kenneth Green Sr. really loved the Black community in these photos,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Sr. knew the community well, too. He grew up in San Francisco, graduating from Balboa High School in 1958 before getting his photography degree from Laney College. He later settled in Oakland on Fruitvale Avenue and 19th Street with his family.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The African American Center, on the library’s third floor, displays more of Green Sr.’s photos — specifically, rare photos of the African Liberation Day demonstration in San Francisco in 1972 that further underline the significance of his work in capturing Bay Area history. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I haven’t been able to find other images of African Liberation Day in San Francisco, you know, besides these photographs,” Sherman says. “We’re very lucky that he was there.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg\" alt=\"A Black woman holds a sign that reads African Liberation Day May 27, 1972.\" width=\"800\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1920x2895.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-scaled.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman holds a sign for African Liberation Day on May 27, 1972. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I ask Green Jr. what he believes his father would think about this exhibition and all the work his son has been doing to keep his memory alive, he says his father would “be speechless.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think he would literally be shocked and in awe of celebrating the life work of Ken Green,” he adds. “Something that he did from his heart, that was a passion, that led to being really a very important memory and jewel of Bay Area, Oakland, San Francisco history.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A history anyone can now see and enjoy, for free.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">Toward a Black Aesthetic: Kenneth P. Green Sr.’s Photographs of the 1960s and 70s\u003c/a>” is on view at San Francisco’s Main Public Library through April 21. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">A related author talk between Dr. Tanisha Ford and Dr. Tiffany E. Barber will be held at the library on Feb. 28.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"An SF Public Library exhibit spotlights Kenneth Green Sr.'s photos documenting Black women's style.","status":"publish","parent":0,"modified":1706300777,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":843},"headData":{"title":"The Oakland Tribune's First Black Photojournalist Captured Black Women's Style | KQED","description":"An SF Public Library exhibit spotlights Kenneth Green Sr.'s photos documenting Black women's style.","ogTitle":"The Oakland Tribune's First Black Photojournalist Captured the 'Black Aesthetic' of the '60s and '70s","ogDescription":"","ogImgId":"","twTitle":"The Oakland Tribune's First Black Photojournalist Captured the 'Black Aesthetic' of the '60s and '70s","twDescription":"","twImgId":"","socialTitle":"The Oakland Tribune's First Black Photojournalist Captured Black Women's Style %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Oakland Tribune’s First Black Photojournalist Captured the ‘Black Aesthetic’ of the ’60s and ’70s","datePublished":"2024-01-25T14:00:23.000Z","dateModified":"2024-01-26T20:26:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Arts","sourceUrl":"https://www.kqed.org/arts","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/fd8ab915-8013-43e0-992b-b102011275f8/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950886/oakland-tribune-first-black-photojournalist-exhibit-sf-public-library","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950890\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg\" alt=\"A woman wearing black boots and holding a bag stand on the sidewalk surrounded by buildings.\" width=\"2400\" height=\"2404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1533x1536.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-2045x2048.jpg 2045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_Woman-downtown-San-Francisco.-on-Market-Street-1920x1923.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Woman in downtown San Francisco on Market Street. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know that curiosity that pops up sometimes when you’re in a gallery and you’re looking at a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really good\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> photo of a stranger? And the spirit of it, the everyday-ness of it, makes you want to know the person’s story? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Were they happy in life? What were their struggles? What was their day like before and after that picture was taken? Are they still alive? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the feeling I had looking at Kenneth P. Green Sr.’s photographs, now on display at the Jewett Gallery in San Francisco’s Main Public Library. \u003c/span>\u003cspan style=\"font-weight: 400\">The exhibition, titled \u003c/span>\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">\u003ci>\u003cspan style=\"font-weight: 400\">Toward a Black Aesthetic\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and on view through April 21, features Green Sr.’s mostly never-before-seen images capturing Bay Area Black women’s beauty and style in the 1960s and ’70s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There was a certain charisma and fashion that they left the house with, knowing that they had to represent themselves. Otherwise they were going to be ignored,” says Kenneth P. Green Jr., Green Sr.’s son and co-curator of the exhibition. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg\" alt=\"Black and white photo of a Black women in a white hat and stylish clothes draping a fur over her shoulder\" width=\"800\" height=\"995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-768x956.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1235x1536.jpg 1235w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1646x2048.jpg 1646w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/01_Joan-modeling-fashion-1920x2389.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan modeling fashion. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. \u003c/span>\u003ca href=\"https://www.kennethpgreenphotography.org/\">\u003cspan style=\"font-weight: 400\">manages an archive\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of 80-plus-thousand negatives of his father’s photographs (and has digitized over 11,000 of them to date). Many are from Green Sr.’s time as the first Black staff photographer at the \u003cem>Oakland Tribune —\u003c/em> a role he held from 1968 until his untimely death in 1982 at age 40 while on a photo assignment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Jr. has done exhibitions and projects involving his father’s collection before, mainly involving his father’s photographs of the Black Panther Party — some of which are part of the ongoing \u003c/span>\u003ca href=\"https://museumca.org/on-view/black-power/\">\u003cspan style=\"font-weight: 400\">Black Power exhibition\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Oakland Museum. But the woman-centered theme of this exhibition emerged when Green Jr. noticed something when looking through his father’s body of work. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I had more images, independent profile shots of Black women, than I had most anything,” Green Jr. says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Images like a group of Black women, young and old, dressed for church service in West Oakland. Black women running on Ocean Beach with the Cliff House visible in the background. A Black woman in a leopard-print jacket and knee-high boots sitting in the Merritt College cafeteria.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg\" alt=\"Seven nicely dressed Black women of various ages stand in a row on the street outside a building.\" width=\"800\" height=\"788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1020x1005.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1536x1513.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-2048x2018.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/05_Multiple-woman-dressed-attending-West-Oakland-Methodist-Church-1967_MedRes-1920x1892.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multiple women attending West Oakland Methodist Church in 1967. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I can definitely tell that my dad wanted to leave a record that white America wasn’t focused on documenting Black women in the ’60s and ’70s,” Green Jr. says. “But he made sure that he documented them at their best so that we could have a real record of what a Black woman and the aesthetic looks like.”\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shawna Sherman, manager of the library’s African American Center, says greenlighting the exhibition was a no-brainer once the team saw the images. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102326,arts_13936457,arts_13920049","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“You could tell that Kenneth Green Sr. really loved the Black community in these photos,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green Sr. knew the community well, too. He grew up in San Francisco, graduating from Balboa High School in 1958 before getting his photography degree from Laney College. He later settled in Oakland on Fruitvale Avenue and 19th Street with his family.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The African American Center, on the library’s third floor, displays more of Green Sr.’s photos — specifically, rare photos of the African Liberation Day demonstration in San Francisco in 1972 that further underline the significance of his work in capturing Bay Area history. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I haven’t been able to find other images of African Liberation Day in San Francisco, you know, besides these photographs,” Sherman says. “We’re very lucky that he was there.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg\" alt=\"A Black woman holds a sign that reads African Liberation Day May 27, 1972.\" width=\"800\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-1920x2895.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/07_African-Liberation-Day-Woman-with-Sign-scaled.jpg 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman holds a sign for African Liberation Day on May 27, 1972. \u003ccite>(Kenneth P. Green Sr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I ask Green Jr. what he believes his father would think about this exhibition and all the work his son has been doing to keep his memory alive, he says his father would “be speechless.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think he would literally be shocked and in awe of celebrating the life work of Ken Green,” he adds. “Something that he did from his heart, that was a passion, that led to being really a very important memory and jewel of Bay Area, Oakland, San Francisco history.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A history anyone can now see and enjoy, for free.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://sfpl.org/exhibits/2024/01/25/toward-black-aesthetic-kenneth-p-green-srs-photographs-1960s-and-70s\">Toward a Black Aesthetic: Kenneth P. Green Sr.’s Photographs of the 1960s and 70s\u003c/a>” is on view at San Francisco’s Main Public Library through April 21. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">A related author talk between Dr. Tanisha Ford and Dr. Tiffany E. Barber will be held at the library on Feb. 28.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950886/oakland-tribune-first-black-photojournalist-exhibit-sf-public-library","authors":["11296"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10342","arts_10278","arts_1143","arts_822","arts_3573","arts_585"],"featImg":"arts_13950930","label":"source_arts_13950886"},"arts_13939278":{"type":"posts","id":"arts_13939278","meta":{"index":"posts_1591205157","site":"arts","id":"13939278","score":null,"sort":[1702483219000]},"guestAuthors":[],"slug":"charles-lee-sweat-dirt-sf-camerawork-photography","title":"SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses","publishDate":1702483219,"format":"standard","headTitle":"SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When the Great Migration led Black families to venture north and west with their eyes on new horizons, many made that journey while maintaining the traditions of their Southern roots, bringing recipes, lessons and practices into new homes. \u003c/p>\n\u003cp>Richmond artist \u003ca href=\"https://charleshlee.com/\">Charles Lee\u003c/a> can trace his own family history back to Southern states like Texas and Louisiana, and those ties now inform his practice. His first solo exhibition, \u003cem>\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>\u003c/em>, on view through Feb. 3, 2024 at \u003ca href=\"https://sfcamerawork.org/\">SF Camerawork\u003c/a>, includes black-and-white photographs and installations — including a horse saddle, rocking chair and bales of hay. \u003c/p>\n\u003cp>The show transports viewers to the outskirts of big cities, in places like Jennings and Lafayette, Louisiana, where Lee centers the relationships between people and their horses, and explores how the traditions of farmwork have persisted through generations for Black Americans. Lee says he’s interested in the ancestral connection between humans and “this very majestic and important animal.” \u003c/p>\n\u003cp>“Even before this job came to the Americas, we were herders,” Lee says, referencing \u003cem>On Brand\u003c/em>, a large-scale chemigram piece, which also features a branding iron hanging from the gallery ceiling. “Our ancestors were herders, and they didn’t break the cattle or break the horses. It was an agreement that they fostered with this giant animal. Whereas Western ways of training an animal is to break it physically and use violence in order to get it to submit.”\u003c/p>\n\u003cfigure id=\"attachment_13939298\" class=\"wp-caption aligncenter\" style=\"max-width: 1218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg\" alt=\"Black-and-white photograph of a Black man on horseback, in profile\" width=\"1218\" height=\"1420\" class=\"size-full wp-image-13939298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-768x895.jpg 768w\" sizes=\"(max-width: 1218px) 100vw, 1218px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lee’s ‘True Grit,’ a gelatin silver print on view in ‘sweat + dirt.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>sweat + dirt\u003c/em> is an extension of Lee’s 2023 MFA thesis show at California College of the Arts, which, in turn, was part of a project he began in 2016 called \u003cem>BEEN HERE\u003c/em>. Seven years after he got the initial idea for a photo series from his cousin, Lee has incorporated videos and found objects into the project. “I had always desired to work with objects,” he says. “So originally those pieces were extensions of the photographic practice that brought it more into an installation piece.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee continues to find new ways to approach the series, recombining earlier work from \u003cem>BEEN HERE\u003c/em> with more recent images made during visits with family in Louisiana. It’s been important for him — and for this project — to trace the migratory paths his family followed on their way to different corners of the Bay Area. \u003c/p>\n\u003cp>“My mom was born in Lafayette, Louisiana and my dad was born in Houston, Texas,” he says about his family’s journey to California. “My mom’s parents were definitely more blue-collar. They grew up on ranches and grew up in the country in Jennings, Louisiana. So when they came here, the culture came with them.” \u003c/p>\n\u003cp>Horse culture has evolved as people have migrated, and it looks different all over the state of California. In Oakland, at Lake Merritt, it’s not uncommon to see people on horses in the middle of a crowd right alongside other, more modern, modes of conveyance, like dirt bikes and bicycles. “Even though we’re not there anymore, there’s still things that we practice over here in this urban environment,” Lee says. Oftentimes, he points out, “we don’t even know the root.” \u003c/p>\n\u003cfigure id=\"attachment_13939300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg\" alt=\"Black and white photo prints arranged in loose salon style unframed on two white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘sweat + dirt’ at SF Camerawork. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two walls at SF Camerawork display a constellation of variously sized prints, showing people on horses and closeups of horses, all in richly high-contrast black and white. In preparing for his show, Lee took the exhibition title, \u003cem>sweat + dirt\u003c/em>, to heart. All of the photos presented at SF Camerawork were developed in a dark room, an intentional and labor-intensive homage to the working people in his pictures. \u003c/p>\n\u003cp>Lee points out that when images of the cowboy in America are presented, Black people are often left out of the picture. His work places Black cowboys and cowgirls both in front of his lens and in the forefront of his work. What began as a reaction to a missing narrative in the cowboy experience is now a way to create a living document of that experience. \u003c/p>\n\u003cp>Lee is also expanding beyond the edges of America, working with the Mascogos people in Nacimiento de los Negros, Mexico, a town name which translates to “birth of the Blacks.” \u003c/p>\n\u003cp>“This project is in no way done,” Lee says, thinking about his next steps. “I’m excited about that new direction of showing another nuance and another layer to this story that brings it south of the border.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>’ is on view at SF Camerawork (Fort Mason Center, 2 Marina Blvd, Building A) through Feb. 3, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘sweat + dirt,’ his solo show at SF Camerawork, Charles Lee documents a missing cowboy narrative.","status":"publish","parent":0,"modified":1705002987,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":818},"headData":{"title":"Charles Lee at SF Camerawork: Black Cowboys and Their Horses | KQED","description":"In ‘sweat + dirt,’ his solo show at SF Camerawork, Charles Lee documents a missing cowboy narrative.","ogTitle":"SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses","ogDescription":"","ogImgId":"","twTitle":"SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses","twDescription":"","twImgId":"","socialTitle":"Charles Lee at SF Camerawork: Black Cowboys and Their Horses %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses","datePublished":"2023-12-13T16:00:19.000Z","dateModified":"2024-01-11T19:56:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nia Coats","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Great Migration led Black families to venture north and west with their eyes on new horizons, many made that journey while maintaining the traditions of their Southern roots, bringing recipes, lessons and practices into new homes. \u003c/p>\n\u003cp>Richmond artist \u003ca href=\"https://charleshlee.com/\">Charles Lee\u003c/a> can trace his own family history back to Southern states like Texas and Louisiana, and those ties now inform his practice. His first solo exhibition, \u003cem>\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>\u003c/em>, on view through Feb. 3, 2024 at \u003ca href=\"https://sfcamerawork.org/\">SF Camerawork\u003c/a>, includes black-and-white photographs and installations — including a horse saddle, rocking chair and bales of hay. \u003c/p>\n\u003cp>The show transports viewers to the outskirts of big cities, in places like Jennings and Lafayette, Louisiana, where Lee centers the relationships between people and their horses, and explores how the traditions of farmwork have persisted through generations for Black Americans. Lee says he’s interested in the ancestral connection between humans and “this very majestic and important animal.” \u003c/p>\n\u003cp>“Even before this job came to the Americas, we were herders,” Lee says, referencing \u003cem>On Brand\u003c/em>, a large-scale chemigram piece, which also features a branding iron hanging from the gallery ceiling. “Our ancestors were herders, and they didn’t break the cattle or break the horses. It was an agreement that they fostered with this giant animal. Whereas Western ways of training an animal is to break it physically and use violence in order to get it to submit.”\u003c/p>\n\u003cfigure id=\"attachment_13939298\" class=\"wp-caption aligncenter\" style=\"max-width: 1218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg\" alt=\"Black-and-white photograph of a Black man on horseback, in profile\" width=\"1218\" height=\"1420\" class=\"size-full wp-image-13939298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-768x895.jpg 768w\" sizes=\"(max-width: 1218px) 100vw, 1218px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lee’s ‘True Grit,’ a gelatin silver print on view in ‘sweat + dirt.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>sweat + dirt\u003c/em> is an extension of Lee’s 2023 MFA thesis show at California College of the Arts, which, in turn, was part of a project he began in 2016 called \u003cem>BEEN HERE\u003c/em>. Seven years after he got the initial idea for a photo series from his cousin, Lee has incorporated videos and found objects into the project. “I had always desired to work with objects,” he says. “So originally those pieces were extensions of the photographic practice that brought it more into an installation piece.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee continues to find new ways to approach the series, recombining earlier work from \u003cem>BEEN HERE\u003c/em> with more recent images made during visits with family in Louisiana. It’s been important for him — and for this project — to trace the migratory paths his family followed on their way to different corners of the Bay Area. \u003c/p>\n\u003cp>“My mom was born in Lafayette, Louisiana and my dad was born in Houston, Texas,” he says about his family’s journey to California. “My mom’s parents were definitely more blue-collar. They grew up on ranches and grew up in the country in Jennings, Louisiana. So when they came here, the culture came with them.” \u003c/p>\n\u003cp>Horse culture has evolved as people have migrated, and it looks different all over the state of California. In Oakland, at Lake Merritt, it’s not uncommon to see people on horses in the middle of a crowd right alongside other, more modern, modes of conveyance, like dirt bikes and bicycles. “Even though we’re not there anymore, there’s still things that we practice over here in this urban environment,” Lee says. Oftentimes, he points out, “we don’t even know the root.” \u003c/p>\n\u003cfigure id=\"attachment_13939300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg\" alt=\"Black and white photo prints arranged in loose salon style unframed on two white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘sweat + dirt’ at SF Camerawork. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two walls at SF Camerawork display a constellation of variously sized prints, showing people on horses and closeups of horses, all in richly high-contrast black and white. In preparing for his show, Lee took the exhibition title, \u003cem>sweat + dirt\u003c/em>, to heart. All of the photos presented at SF Camerawork were developed in a dark room, an intentional and labor-intensive homage to the working people in his pictures. \u003c/p>\n\u003cp>Lee points out that when images of the cowboy in America are presented, Black people are often left out of the picture. His work places Black cowboys and cowgirls both in front of his lens and in the forefront of his work. What began as a reaction to a missing narrative in the cowboy experience is now a way to create a living document of that experience. \u003c/p>\n\u003cp>Lee is also expanding beyond the edges of America, working with the Mascogos people in Nacimiento de los Negros, Mexico, a town name which translates to “birth of the Blacks.” \u003c/p>\n\u003cp>“This project is in no way done,” Lee says, thinking about his next steps. “I’m excited about that new direction of showing another nuance and another layer to this story that brings it south of the border.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>’ is on view at SF Camerawork (Fort Mason Center, 2 Marina Blvd, Building A) through Feb. 3, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography","authors":["byline_arts_13939278"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_822","arts_585"],"featImg":"arts_13939296","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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