Past

Harlem Postcards is an ongoing project that invites contemporary artists of diverse backgrounds to reflect on Harlem as a site of cultural activity, political vitality, visual stimuli, artistic contemplation and creative production. Representing intimate and dynamic perspectives of Harlem, the images reflect the idiosyncratic visions of contemporary artists from a wide range of backgrounds and locations. Each photograph has been reproduced as a limited edition postcard available free to visitors.

This season, we are pleased to feature postcard images by American Artist, Phoebe Collings-James, Azikiwe Mohammed and Mary Simpson.

Harlem Postcards Spring 2017 is organized by Doris Zhao, Curatorial Assistant.

Marvellous’ Dignity Image by American Artist

American Artist

Marvellous’ Dignity Image, 2017

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The refusal to perform alludes to a history of resistance. This type of activity is mirrored in images that remain off-line and unshared. A “dignity image” is a personal image that has not been shared on social media. In an attention economy in which people are only worth the images they share, the images withheld from circulation—whether out of sentimentality or security—may be important tools for retaining dignity and identity. Marvellous Iheukwumere is a resident of Harlem and this is her dignity image. “I'm a Nigerian woman, and I'm passionate about my culture because it is so rich and has given me a great perspective on life,” she says. “In this picture, I'm wearing a custom-made top that signifies my cultural heritage. Even though I've lived in Harlem for seven years, I take my culture everywhere I go.”

Born 1989, Pasadena, California

Lives and works in Brooklyn, New York

Bust Wide Open by Phoebe Collings-James

Phoebe Collings-James

Bust Wide Open, 2017

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When I captured this image on 125th Street, I was interested in how this incidental arrangement could represent both a problematic commodification of activism and an urgent need for resistance. The Black Lives Matter merchandise hanging on a faceless black mannequin also evokes Ralph Ellison’s Invisible Man, which, in both location and metaphor, navigates many of the same challenges black Americans face today: lives of simultaneous hyper-visibility and invisibility.

Born in 1987, London, England

Lives and works in New York, New York

Catherine Simmons and Laverne Simmons, Harlem, NY by Azikiwe Mohammed

Azikiwe Mohammed

Catherine Simmons and Laverne Simmons, Harlem, NY, 2017

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By recontextualizing well-defined and documented ideas and display methods traditionally attributed to white people and their accompanying history, I hope to offer a different look or starting point for a conversation about black history and people. Both the black race and the white race are American constructs that are maintained to protect white interests. If these ideas are constructs, then is the history based on them a construct as well? Is this history as malleable as the lies we are fed in retellings of events passed? What if we were given a different starting point? What if the language that has been developed to talk about whiteness was used to describe blackness? What would that look like? Once placed b(l)ack in their appropriate historical context, do these new images and items carry the same message? When we look at each other our histories collide and build new ones, from which we can depart anew.

Born 1983, New York, New York

Lives and works in New York, New York

Love B. by Mary Simpson

Mary Simpson

Love B., 2017

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Recently I read a review of Cy Twombly written by Frank O’Hara in 1955. O’Hara wrote “the painting itself is the form,” and it reminded me of something I’ve been thinking in my studio: whether the beautiful and the political are not at odds, as some may claim, but entwined. Beauty simultaneously feeds and resists political action—one desires the other and opens a conversation, perhaps violently or, at times, very quietly. My paintings are layered over a long time with oil, impasto, and graphite. I often begin with a maple panel already in its frame, and make the painting within that limitation. Form is never indifferent, but rather it is useful—and at times critical—for opening perspective. In this way, architectural elements can help hold the intensity of feeling or history, so a viewer has a way in—like a doorway.

Born in Anchorage, Alaska

Lives and works in New York, New York