Danielle Tamagni, Sapeurs posing in front of Memorial Savorgnan de Brazz, Brazzaville, 2008; chromogenic print, 37 1/2 by 47 inches. (All images courtesy of Hammonds House Museum.)
Arteh Odidja, Stranger in Moscow — Kremlin; archival inkjet print, 31 by 37 inches.
Curated by Shantrelle P. Lewis, Dandy Lion: (Re) Articulating Black Masculine Identity is a photography exhibition which highlights the contemporary expressions of the Black Dandy phenomenon in popular culture. The Black Dandy celebrated in the exhibition is a self-fashioned gentleman who intentionally assimilates classical European fashion with African Disaporan aesthetics and sensibilities.
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He is a rebel—a modern-day representation of the African trickster.
— From the accompanying text
Harness Hamese, For every strong woman there are strong men — Khumbula, 2014; archival inkjet print, 21 by 25 inches.
Hanif Abdur-Rahim, A Revolution in Etiquette — Connoisseurs of SWAG, 2010; digital chromogenic print, 41 by 41 inches.
Russell Frederick, Alanzo, 2010; silver gelatin print, 24 by 27 inches.
Sara Shamsavari, Martell Campbell, London, 2014; archival inkjet print, 20 by 24 inches.
Russell Frederick, Kingsley, 2010; silver chromogenic print, 24 by 24 inches.
Harness Hamese, Give thanks for thoughtful hands — Bafana Mthembu and Andile Biyana of Khumbula, 2013; archival inkjet print, 21 by 25 inches.
For September's Mood Ring, Amaryllis Ara creates a sculptural interactive installation merging a graveyard and playground scene, pulling from memories of playing in the family cemetery at their childhood home in Manchester, Jamaica.
In September's co-publishing initiative with Oxford American, Zahrah Butler reflects on the work of Tay Butler, a Houston-based artist who examines the commodification of Black athletes and soldiers.
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