At the Frieze art fair in New York, over 60 leading galleries are paying tribute to social justice, showing works by the world’s most influential artists.

The goal is to change how we see the world by examining art’s role in portraying race and citizenship. It expands on The Vision & Justice Project, a landmark 2016 issue by Aperture magazine on photography in the African American experience.

“For the past year, so many of us have not only seen the pandemic, but also the incredibly important Black Lives Matter movement,” said Rebecca Ann Siegel, director of content at Frieze. “This really felt like a moment to pay tribute to some work that is so resonant with today’s issues.”

Works by renowned artists such as Stan Douglas, Hank Willis Thomas, Lorraine O’Grady and Ming Smith are on display.

“The Shed” arts center at the Hudson Yards development on Manhattan’s West side
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When the Kamoinge Workshop began in 1963, taking its name from a Kikuyu word meaning “a group of people acting together,” a few Black photographers had already gained some prominence. Gordon Parks was probably chief among them. After starting as a portraitist in Chicago, he had gone on to work during the war years with the renowned photography program of the Farm Security Administration, best known for sending the likes of Walker Evans and Dorothea Lange to document everyday rural life during the Depression; in postwar Harlem he went to work for Vogue as a fashion photographer before becoming a staffer at Life, the country’s most widely seen venue for photojournalism. There was also Roy DeCarava, a Harlem native, who had followed a less direct

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February is the one month we focus on Black History and the contributions that Black Americans bring to our communities. Vassar Lehman Loeb Art Center currently has a jewel of on art exhibit up, “Visible Bodies: Representing Blackness,” curated from Vassar’s permanent collection by Jessica D. Brier, a Deknatel Curatorial Fellow in Photography.

In her curatorial statement Brier writes: “Throughout its history, photography has held the powerful promise of making the world more visible. Lived experiences – both individual and collective – are often represented by the visibility of human figures.” 

“Visible Bodies” explores visual culture and questions who is allowed to participate within that culture. The exhibit is situated in an intimate gallery encouraging time to ponder the works, such as Arnold Joseph Kemp’s “Possible Bibliography.” 

This photo project shows an alternative representation of literary history by the artist who has photographed himself holding 52 books and literary

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Brenda Thompson, Peggy Sivert and Tatum Hawkins of SoLA Contemporary stand amid an installation of protest signs. <span class="copyright">(Christina House / Los Angeles Times)</span>
Brenda Thompson, Peggy Sivert and Tatum Hawkins of SoLA Contemporary stand amid an installation of protest signs. (Christina House / Los Angeles Times)

Black Lives Matter protests continue around the country, making familiar the myriad signs that people hold up: “Justice for George Floyd.” “No Justice, No Peace.” “8:46,” the last a reference to the amount of time a police officer held a knee to Floyd’s neck in Minneapolis.

Peggy Sivert and Tatum Hawkins, who run SoLA Contemporary, see art in these simple, yet direct, missives. So they have gathered dozens of protest signs and installed them in their storefront gallery space in a way that feels as if you have stumbled into a demonstration that’s been frozen in space and in time.

Suspended from the ceiling are bright pieces of poster board and scraps of cardboard emblazoned with slogans such as “Defund the Police,” “All Black Lives Matter”

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