Wednesday, June 1, 2016

Buster Gets Out!

I'm excited to announce I've illustrated a children's book called Buster Gets Out! now for sale in my Etsy store and on the BookPatch online bookstore. Lucienne Stec and Thomas L. Stec, my husband's parents, wrote the story and it was a fun collaboration!

"Violet and her cat Buster are the best of friends. But one Fall day when Buster escapes into the yard, Violet must search high and low to find him!" Here are a few of the illustrations from the book:

An illustration by Ciana Pullen from Buster Gets Out! by Lucienne Stec and Thomas L. Stec.
An illustration by Ciana Pullen from Buster Gets Out! by Lucienne Stec and Thomas L. Stec.
An illustration by Ciana Pullen from Buster Gets Out! by Lucienne Stec and Thomas L. Stec.
An illustration by Ciana Pullen from Buster Gets Out! by Lucienne Stec and Thomas L. Stec.
An illustration by Ciana Pullen from Buster Gets Out! by Lucienne Stec and Thomas L. Stec.

Sunday, May 8, 2016

Untitled by Ciana Pullen

Painting of a white woman sitting on a chair, loose realistic style.
Untitled, by Ciana Pullen, 2013. Acrylic on paper.
This is from a series where I identified subtle visual ways in which the media portrays people by race and gender (limited to Black and White, male and female), and then "swapped" them for the race and gender of the imaginary subject. For instance, common poses, lighting, background colors, angles, and mood.

Thursday, May 5, 2016

Yelling, by Ciana Pullen

Yelling, by Ciana Pullen, 2000. India ink, drawn from a photograph of an orchestra conductor and a photo of Katharine Hepburn.

Wednesday, May 4, 2016

Friday, April 29, 2016

Caliban, by Ciana Pullen, 2007.

Caliban, by Ciana Pullen
Caliban, by Ciana Pullen. 2007. Acrylic on canvas, 24 x 36."
Caliban, from The Tempest by Shakespeare, was a man who lived on a deserted island. He was described as somehow monstrous, but he's a very ambiguous character. Some postmodern criticisms speculate that he is meant to be an expression of nonwhite race.

Friday, July 31, 2015

Monday, July 20, 2015

Sunday, July 19, 2015

Sketch of a Copper Pitcher by Ciana Pullen

Sketch of a Copper Pitcher, by Ciana Pullen
Sketch of a Copper Pitcher, by Ciana Pullen, 2013. Felt tip pen. Sketched from a shelf of pretty knick knacks at a coffee shop called Kudu in Charleston, SC.

Pedestrians in Front of a Window Display, Berlin, photo by Ciana Pullen

Pedestrians in Front of a Window Display, Berlin, photo by Ciana Pullen
Pedestrians in Front of a Window Display, Berlin, photo by Ciana Pullen, 2014.

Christmas in Berlin, Kurfürstendamm

Christmas in Berlin, Kurfürstendamm, photo by Ciana Pullen, 2014.
Christmas in Berlin, Kurfürstendamm, photo by Ciana Pullen, 2014.

T-Rex Wearing Plastic Safety Mitts, Berlin, photo by Ciana Pullen

T-Rex Wearing Plastic Safety Mitts, Berlin, photo by Ciana Pullen
T-Rex Wearing Plastic Safety Mitts, Berlin, photo by Ciana Pullen, 2014. Displayed in the window of a toy store.

Friday, June 26, 2015

Wednesday, June 24, 2015

Portrait of a little girl in a hat (detail) by Ciana Pullen

Portrait of a little girl in a hat (detail) by Ciana Pullen
Portrait of a little girl in a hat (detail) by Ciana Pullen. Charcoal, drawn from life, 2012. Image: head and shoulders of a 6-year-old-ish Hispanic girl wearing a hat looks up at the viewer. She's lit from the side which creates graphic shadows on her clothes. Drawn in realistic black & white charcoal.]
This is only a portion of the drawing since it's for a client. This girl sat for me while her parents distracted her with a smartphone. She was *so* serious.

[This is a re-post, originally published April 8, 2012.]

Friday, June 19, 2015

Storefront with an Elephant, Paris, photo by Ciana Pullen

Storefront with an Elephant Head, Paris, photo by Ciana Pullen
Storefront with an Elephant Head, Paris, photo by Ciana Pullen, 2014.

A single man watching a couple toss away their key on the "Padlock Bridge," Paris, by Ciana Pullen

A single man watching a couple toss away their key on the "Padlock Bridge," Paris, by Ciana Pullen
A single man watching a couple toss away their key on the "Padlock Bridge," Paris, by Ciana Pullen, 2014
There's been a tradition since about 2008 for lovers to attach a padlock to the railing of the Pont des Arts bridge in Paris, then toss the key into the Seine to symbolize eternal love. So many thousands upon thousands of padlocks hang off the railing in glittering clumps that authorities are removing the railing and replacing it with plexiglass in order to protect the bridge from undue weight, thus ending the tradition. As I was passing under the bridge I caught this man standing alone and watching a couple toss their key into the Seine.

Sketch of a Hand, by Ciana Pullen

Sketch of a Hand, by Ciana Pullen
Sketch of a Hand, by Ciana Pullen, 2002

Thursday, June 18, 2015

Roofline in Paris, Canal Saint-Martin neighborhood, photo by Ciana Pullen

Paris Roofline by Ciana Pullen
Roofline in Paris, Canal Saint-Martin neighborhood, photo by Ciana Pullen, 2014.

Julia Child, drawing by Ciana Pullen

drawing of Julia Child by Ciana Pullen
Julia Child, by Ciana Pullen. Charcoal, 2011.
I drew this from one of Julia Child's cookbooks while working at the Farmer's Market one day and a man bought it right from my drawing pad as a gift for his wife. I snapped this photo before it disappeared, but it's not quite print quality, so unfortunately this isn't available on Etsy. But I'll do another drawing of Julia to list. With a chicken.

Wednesday, June 17, 2015

Boat Scene on the Canal Saint Martin, Paris, photo by Ciana Pullen

Boat Scene, Canal St Martin, Paris by Ciana Pullen
Boat Scene on the Canal Saint Martin, Paris. Photo by Ciana Pullen, 2014
While most tourists take boat tours down the Seine, a boat tour of the Canal St. Martin is a lesser known (and cheaper) but still very interesting thing to do in Paris. It will take you through the Seine and past the Île de la Cité and Île Saint-Louis, but turns off down the canal commissioned by Napoleon. You'll go through an incredible 19th century underground tunnel, a series of locks, and a beautiful neighborhood popular with more local Parisians than tourists. I took this near one of the locks to capture the perfect blue and black lines and shapes.

Sketch of a Man Crocheting Near Centre Pompidou, Paris, by Ciana Pullen

Sketch of a Man in Paris, by Ciana Pullen
Sketch of a Man in Paris, by Ciana Pullen, 2014.
I sketched this man as he was crocheting quietly on bench near the Centre Pompidou.

Friday, June 12, 2015

Reeds in Water, photograph by Ciana Pullen

Photograph of black silhouetted reeds reflected in blue rippling water
Reeds in Water, San Juan Islands, Washington. Photo by Ciana Pullen, 2009.
Reeds in Water, San Juan Islands, Washington State. Photo by Ciana Pullen. This camping and hiking island paradise neighbors the Orcas Islands. Simply take a ferry from Seattle through the Straight of San Juan. From the highest peak on the island you can easily see the islands of the Canadian border to one side and the Cascade Mountains of Washington State on the other. Summer is the best time to go.

...And Now, For Something Completely Different!

An announcement: From now on this blog will function as a daily repository for my various artistic output. And maybe a little art-related journaling. I hope to highlight my working process and the things I make that don't quite fit in my Official Portfolio, but that I'd still like to share.

I'll still be sharing art and music by other people, along with pieces of my own, on my Pinterest account.

Saturday, February 15, 2014

Denmark Vesey (born Telemaque)

Update: In June 2015 Emanuel AME, the church discussed in this post, was attacked by a white supremacist who killed nine people in an act of terrorism, on the 193rd anniversary of Vesey's uprising.

Black Charlestonian Denmark Vesey (born Telemaque) was hanged at dawn in 1822, accused of organizing and very nearly executing what would have been the largest slave revolt in US history. His story is still controversial today, and I've chosen him as my latest subject for a portrait drawing for Black History Month:

Denmark Vesey by Ciana Pullen
Denmark Vesey, by Ciana Pullen, 2014. Charcoal, 14 x 17." Drawn entirely from imagination. You may reproduce this image for noncommercial purposes only, and you must include easily visible accreditation (i.e. my name) and a link back to this site. [Image description follows at the end of this post.]

He was born in St. Thomas or possibly Africa in 1767 and spent his youth enslaved on the island until one day in 1781, at age 14, when he was pulled aside and marched at gunpoint with 300 other enslaved people to the slave ship of Captain Joseph Vesey.

Vesey sold Telemaque for hard labor on a sugar-cane plantation in French Saint-Domingue (now Haiti), but his purchaser forced Vesey to take the boy back when they discovered his epilleptic fits (possibly faked, as they were never known to recur). Vesey, then 34 years old, enjoyed his company, and possibly because his own parents had died when he was the boy's age, he acted as both master and guardian for Telemaque, who was appropriately named for the son of seafaring explorer Odysseus. He made Telemaque his personal assistant and interpreter for the next three years on the ship, teaching him to read and write.

Captain Vesey, born in Bermuda, had previously purchased land in Charleston and fought as a Carolinian on behalf of the rebelling Patriots in the American Revolution. Recognized as a courageous fighter whose expertise of the coastline allowed for clandestine navigation, Vesey would likely have shared these stories with Telemaque. As shocking as Telemaque's 1822 trial for insurrection would later be, one must remember that in 1781-3 he was entering an American society where just a few short years before, ordinary people had openly engaged in guerrilla warfare to overthrow their colonial overlords, in which many Black people had participated.

Captain Vesey settled in Charleston, SC, in 1783, which was then a major port for the slave trade, to become a ship chandler and slave broker. By this time Telemaque was called Denmark Vesey.

Urban slave life in Charleston was nothing like plantation life or even slavery in other Southern cities. The 1820 Census listed only 11,654 White people in the City, outnumbered by 12,652 enslaved and 1,475 free Black people, and surrounded by many tens of thousands of rural plantation slaves. A mere 8-9% of those White people controlled Charleston's wealth and political power. By Vesey's arrival a state of fear and constant subjugation of Black people had gripped the city for nearly a century.

Enslaved Black people and White people lived in close quarters, as crowded narrow plots of land contained mansions or smaller rowhouses for "the Family" of White people with slave quarters standing separately in the back. Strict codes  of behavior for "house slaves" ensured the two never intermingled, and that a free neighborhood could double as a police state for Black people.

Aiken-Rhett slave quarters exterior
The exterior of the Aiken-Rhett House slave quarters, built 1820. An unusually "state of the art" building for the grand house, its arrangement is nonetheless customary for tightly packed, highly regimented urban slave dwellings. Living quarters were on the second floor; kitchen and washrooms were ground floor. [Image shows a long two-story grey stucco building with forest green windows and shutters lining it like a prison]. Photo via.

Aiken-Rhett House slave quarters interior
The interior of the bare-bones Aiken-Rhett House slave quarters (or barracks, really). People would have been cram-packed into these rooms. Privacy was scarce. Photo via.
For instance, regulations for enslaved Black people included strict curfews and laws against walking with a cane unless infirm, wearing nice clothes in public, playing an instrument, smoking, cursing, dancing without city council or owners' approval, or making any "joyful demonstration." Slaves were often sent out to workhouses for "corrections," where people were forced to work a treadmill, placed in irons or whipped, a service for which the slave-owner paid $0.25.

Black man with scars from whipping
A man in a historic photograph reveals the scars on his back from whipping. Photo via.

Charleston slave auction
Illustration of a slave auction in Charleston (I think I recognize this street corner as a modern day bus stop). [Historic illustration shows the turmoil of a crowded auction and a Black family and White auctioneer on a platform on the sidewalk].
Some owners "hired out" their enslaved skilled workers and craftsmen, who were either rented directly from their owners by other free people and allowed, sometimes, to live independently while working these jobs, or enslaved skilled workers who essentially paid to lease their own bodies or time from their "masters" and earned their own money temporarily. The second practice, called "self-hire," was swiftly outlawed as subversive, but widely practised anyway. So convenient did slave owners find the practice, "badge laws" were enacted to regulate it by issuing heavily taxed metal tags to self-hirers. (Today the surviving metal badges are subject to a controversial high-priced private commodities trade, as local artist Ben Sivells stopped by to inform me while I drew Vesey's portrait at the Farmer's Market.) Other enslaved people ran the affairs of a part of their "master's" property or "trust," effectively living independently, though this was also illegal. This was sometimes practised by free Black people who were forced to hold friends or family nominally as slaves, even husbands and wives, constituting a substantial minority of the enslaved people owned by wealthy free Black people.

Joseph Vesey allowed Denmark to practice self-hire as a carpenter until November 9, 1799, when Denmark won $1500 in a street lottery and bought his freedom. I repeat, he won $1500 in a street lottery and bought his freedom.

Map of Charleston 1849
Map of Charleston, 1849. Via Wikimedia Commons.

Vesey set up his own business as a carpenter, which would become enormously successful with a large Black clientele, and moved to an area of the Charleston Peninsula called the Neck. In those days Boundary Street (modern day Calhoun) was the official City Limits, but people had begun settling north of Boundary anyway. With official police and patrol jurisdiction north of Boundary patchy and unsure, and with abundant cheap land, working class White people, free Black people and some Native American people settled the new reputedly lawless area. White citizens soon formed their own night patrol in parts of the Neck.

Denmark Vesey House
The Denmark Vesey House, 56 Bull Street (near the Coming Street neighborhood of free Black residents), was identified in the 1970s and is still listed as a historic landmark. However in the 1980s archivists found it was built in the 1830s-50s and likely five houses down from his rented home, which is probably demolished. Local real estate listings still call these types of houses, often 400-800 square feet, "freedman cottages." Image via Wikipedia. [Image description: Small white house on a tiny shaded lot with black shutters and a front porch with small Greek columns. Entire building is the shape of a giant clapboard Lego.]
By the late 1700s officials had complained of urban enslaved people "going myrtle berry picking" in the Neck, or trading rum and goods with nearby rural enslaved people. Enslaved people who escaped from the City would often go there to pass themselves off as free, particularly if they were literate or skilled. Hired out and self-hired slaves were usually forced to reside independently in the City wherever they could find spare space, above garages or in unused corners of sheds. But in the Neck they could build illicit (and illegal) tenements and shacks.

Agostino Brunias, "Free Women of Color with their Children and Servants in a Landscape," c.
1764-1796. Image via Wikipedia. Though this depicts a Caribbean scene, the wealthiest class of free Charlestonians of color in Vesey's time were generally slave-holding Mulatto people like the women depicted. Like the men shown above, male slaves of prominent White families wore distinctive "liveries" or uniforms, the perceived attractiveness of which were often recalled fondly by Confederate sympathizers after the Civil War as one of many super-fun privileges of being a slave (yes, really).

Free Black and Brown (as "mulatto" or biracial people were then called) people lived in nearly segregated pockets of the Neck, some near Coming Street and others on the blocks north of Meeting & Boundary. They sought both to distance themselves socially and legally from slaves (and independent slave tenement neighborhoods), and were uneasy with the white working class, who often openly resented both slaves for undercutting their employment and wages, and free Black people since many White Charlestonians complained that "Negro" meant "Slave," and "free Negroes" were an offensive oxymoron. Since most manumissions resulted from children of interracial sex and rape, three fourths of all free colored people, and the great  majority of comparatively well-to-do free colored property owners, were Brown, the wealthiest of them slaveholders. Exclusively Brown societies were created to provide insurance, professional services, and support for widows similar to a 20th century union, while the excluded free Black people generally struggled to make ends meet, forming their own societies in later decades.

Nancy Weston, a mulatta Charlestonian, was photographed a few decades after Vesey's lifetime but her story is nonetheless representative of the lives of free Brown Charlestonians in Vesey's community. Photo via MulattoDiaries, where a commenter identifying as a descendent of Nancy's owners fills in the details. She was the child of a female slave and the Weston plantation owner, and had a child with the Grimke plantation owner. Grimke willed her to be enslaved in name only to his son Montague, the white half-brother to Nancy's own Brown sons. Because of complicated and often difficult manumission laws, many Black and Brown people like Nancy were held in nominal slavery by friends, family and benevolent owners. They had no legal rights and could be seized and sold elsewhere, for instance, to pay their owner's debts. She had been the mistress of a plantation, but Montague sold it and bought Nancy a house on Coming Street in Vesey's neighborhood, where she lived in poverty taking in washing. Montague then attempted to enslave Nancy's sons, who resisted and were beaten in the workhouse while Nancy, a slave, had no legal recourse. Legal claims to freedom could be disputed, with some claims (certified born to a White woman or born to two free Black people) stronger than others, creating a constant threat of instability for free Black people. At some point Vesey had children, for instance, and though fathered by a free man with various enslaved women, they had a weak claim to freedom and remained enslaved. When her son attempted to stay at her house to recuperate from an injury and Nancy refused to send him back to work, Montague sent Nancy to a workhouse for corrections, where she went on hunger strike until his friends persuaded him to have her released. Though laws of her era forbade educating nonwhite people (I'll get to that later) she taught her boys at night in secret, as did many Black and mulatto people. Nancy's granddaughter was Angelina Weld Grimke, the famous writer and abolitionist.

A "free badge," kept by free Black and Brown Charlestonians just like self-hire slave badges. Like South African Apartheid, Charleston was a "papers, please" police state for all Black people; punishments for being stopped without one's badge were severe. Photo via.
African religions were often incorporated into Christian establishments, except conjurers / physicians, who practised in secret, particularly in the Neck and rural areas, and were widely sought after by Black Charlestonians. Vesey's acquaintance (and later co-conspirator) "Gullah Jack," was an influential conjurer born in Angola who many believed had occult powers and immunity to white men's bullets. ("But," he would later say, "I am not immune to the treachery of my own race.") Vesey himself, however, was Presbyterian as late as 1816. Most religious Black people attended large white-run churches, which emphasized the heavenly rewards of obedience to their Black congregations. But by the late 1700s Christian racial tensions were growing.

In 1787 in Philadelphia Black members of the local Methodist church had grown so resentful of their unkind treatment and special restrictions that they left to form the first Free African Society and African Methodist Episcopal denomination. Soon after, Black members of a Charleston Methodist church chafed under White leaders who revoked their privileges to oversee their own church trials, hold their own quarterly conference, and manage their own collections. When White leaders disputed rights to the Black burial grounds and built a hearse house there, it was the last straw.

Morris Brown
Rev. Morris Brown. [Image shows a formal drawn or engraved portrait of a formally dressed balding Black man resembling Benjamin Franklin]. Image Credit: The Library Company of Philadelphia via PBS
Rev. Morris Brown and 1400 followers, both enslaved and free, founded a new African Methodist Episcopal church in 1791 near Hampstead (near Reid and Hanover Streets in the Neck). Two other Charlestonian churches arose under the Free African Society and the three were named the "Bethel Circuit". By 1817 Vessey had become involved as one of several founders and leaders of the Hampstead AME church. In the Free African Society people had a chance to study religion as a salvation from slavery rather than a reward for it and to conduct their own affairs as an independent community.

As free Black people gained a foothold in these various areas of society, White resentment turned to panic. Though free Black people were legally "denizens," not "citizens" Charleston's free Black codes were not as strict as in other states, attracting free Black immigrants from across the South. An 1800 law required only that a slave be able to support him/herself to be eligible for freedom (though I'm unsure how this worked in practise). But in 1820 a bill was passed that prohibited manumission (freeing of slaves) except by legislative decree (i.e. owners couldn't free slaves without the assembly's approval); out-of-state free Black people were prohibited from immigrating on punishment of enslavement; and the crossing of state lines by free Black people was curtailed.

Fearful White people found an enemy in the Bethel Circuit. A law was passed forbidding any assembly or "mental instruction" of Black people, free or enslaved, without a White person present to supervise. In 1817, 469 Black people were arrested for "disorderly conduct" in one AME church, and in 1818 140 members of Vesey's church, including Rev. Brown and other ministers, were arrested for violating the supervision law. Authorities shut down his Hampstead church again in 1820. Vesey, long struggling with White brutality toward his community, was livid.

Though details are scant, over his years in Charlston Vesey had had several children with more than one wife, all of them enslaved. Following the harassment of his church, witnesses later alleged, Vesey said he wanted to "see them free." They alleged that starting December 1821 Vesey began planning the largest slave uprising in US history, which would take place Bastille Day (July 14) 1822.

[You'll want to click below to keep reading....]

Wednesday, February 5, 2014

James Van Der Zee photos and the portrait I drew from them

James van der Zee set up his famous photograhy studio in his sister's music conservatory in Harlem in 1911. Just as the Harlem Renaissance was growing into a major movement he was able to capture a slice of life of ordinary middle class families, local figures, celebrities and artists with a disarming warmth and insider's perspective (Van Der Zee himself was a musician and father as well, and long-time Harlem resident). Here is a portrait I drew based on one of his family photographs:
Ciana Pullen, Anonymous Man drawn from a photo by James Van Der Zee
Ciana Pullen, Anonymous Man drawn from a photo by James Van Der Zee, charcoal on paper. [Image description: Realistic black and white sketch of the head and shoulders of a young Black man wearing a formal early 20th century military coat, leather sash, and medal chains. He is centered on a white background and diffuse light enters from the left. The marks making up the dark coat dissolve toward the bottom right of the image.]

James Van Der Zee, Garveyite Family, Harlem, 1924.
James Van Der Zee, Garveyite Family, Harlem, 1924. This is the image I used to draw the man above. [Image description: 1920s black and white studio photo of a middle aged Black woman sitting in a formal dress and pearls, a young Black man in a military uniform standing on the left with his hand on her shoulder, and a young boy, maybe eight, in a sailor suit, standing to the right. A small dog, possibly a prop, stands at the boy's heels. The backdrop makes them appear to be in a grand house with huge stately windows, a carved archway, and 18th century murals or wallpaper depicting a forested landscape. A real vase sits on a dark shining wooden desk behind them. Each has a serious but pleasant facial expression.]

A "Garveyite" family would have been followers of Marcus Garvey, an enormously influential Black intellectual of the early 20th century who promoted the self-advancement and economic empowerment of Blacks worldwide as well as a return to ancestral lands and culture, such as Pan-Africanism and Black Nationalism. In 1919, shortly before the above photo would have been taken, Garvey's newspaper Negro World was published from New York, mouthpiece of his organization UNIA, which at that point had around two million members. He was a contemporary, and frequent rival, of W. E. B. Du Bois.

Portrait of James Van Der Zee
Portrait of James Van Der Zee. I don't know who took this photograph. [Image description: close-cropped face of an older Black man with short grey hair, large glasses and a suit.]

Portrait of a Band Leader, by James Van Der Zee
Portrait of a Band Leader, by James Van Der Zee. [Image description: A young boyish-looking Black man in a dark suit, light shirt and tie, and pocket square, stands, feet apart, in front of a backdrop holding a conductor's baton horizontally across his thighs, one hand on each end. His face points slightly down, his gaze is up and out of frame to the right. He wears close-cropped waved hair.]

Portrait of a Couple, by James Van Der Zee
Portrait of a couple, by James Van Der Zee. [Image description: full-length black and white studio portrait of a youngish middle aged Black couple in formal winter clothes. The woman stands on the left in a dark cloche hat and dark knee-length coat with a huge fur collar and cuffs that matches her hat and heels. She holds a purse and gloves and holds one foot forward, lifted elegantly. The man stands with his shoulder behind her and to the right in the same position but with his hand on a walking cane. He wears a dark suit and shoes with grey spats, a white shirt and dark necktie, a long dark overcoat, and a light fedora with dark hat-band. They appear to be in front of a background showing a snow-covered tree-lined lane in a park.]

Portrait of a Family, by James Van Der Zee.
Portrait of a Family, by James Van Der Zee. [Image description: Black and white studio photo of a youngish Black woman (I'll call her the mother) and two children, probably two and four, sitting in a group so that their faces form a line from bottom left to top right. The smallest child throws his or her arms around the mother's neck. They all smile placidly. The mother wears a low bun to the side and a plain mid-toned long-sleeved dress; the children wear striped puffy dresses with big collars, and their hair is in tiny short lolly-pop curls.]

Portrait of a Woman by James Van Der Zee, 1929.
Portrait of a woman by James Van Der Zee, 1929. [Image description: Sepia toned studio photo of a youngish Black woman from the knees up in formal 1920s top and skirt with finger waved bob and bangs. She sits at a woman's carved wood writing desk either reading or writing on some papers or a periodical in front of her. A vase of roses sits on the desk beside her. Her free hand reaches up to loosely brush her neck.]

Portrait of a woman by James Van Der Zee.
Portrait of a woman by James Van Der Zee. [Image Description: Black and white full-lenth studio photo of a young Black woman in a formal ruffled flapper dress and finger waved bob, holding flowers and sitting in a formal chair in front of a backdrop.

Van Der Zee was successful throughout the 1910s-40s, but by the 1960s he had become extremely poor as personal cameras became popular and studio portraits were no longer in demand. In the 1970s and 80s, however, various museum and leaders in the arts staged shows of his photographs and his work gained renewed interest. He received a Living Legacy Award form President Jimmy Carter, and he photographed Cicely Tyson, Bill Cosbey, and others, including Jean-Michel Basquiat:

Jean-Michel Basquiat, by James Van Der Zee, 1982.
James Van Der Zee, Jean-Michel Basquiat. 1982. I love that this still looks like the early 20th century studio portraits, and I'm sure it made a clear departure from the slick bright photography popular in the 80s. I'd love to know what the two men thought of each other. [Image: Black and white photo of Basquiat, a young Black man with shortish Medusa-like dreadlocks, sits in a large carved 1850's chair, leaning forward with his face on one hand. A Siamese cat sits on his lap. He slumps and looks out of frame, with his head at the top right and his gaze pointed at the top left of the image. His other elbow sits on the armrest and his hand dangles and fingers brush his leg. He wears a grey checked paint-spattered suit and conveys an overall restless, ethereal and dishevelled appearance.]