Marcus Garvey with George O. Marke and Prince Kojo Tovalou-Houénou 1924

Editor: This is a photograph by James Van Der Zee, "Marcus Garvey with George O. Marke and Prince Kojo Tovalou-Houénou," taken in 1924. It’s a gelatin silver print, and it strikes me as a very deliberate and carefully constructed image, almost staged in its formality. What do you see in this photograph, beyond the obvious? Curator: Well, beyond being a striking group portrait, this image encapsulates a pivotal moment in the Harlem Renaissance and the broader Pan-African movement. Van Der Zee, through his studio portraits, actively shaped the visual representation of Black identity and success. This particular image places Marcus Garvey, a hugely controversial but also inspiring figure, alongside other leaders. Editor: So it's not just a portrait, but a visual statement? Curator: Exactly! Consider the setting – probably Van Der Zee's studio, designed to project a sense of dignity and respectability. The men are sharply dressed, exuding power. How does this imagery contribute to the politics of representation, do you think, especially at this time? Editor: It seems to directly challenge negative stereotypes and assert Black agency. They’re presenting themselves as leaders, demanding to be seen as such. The deliberate composition underlines that. Curator: Precisely. And consider how this image, reproduced and circulated, influenced perceptions of the movement itself. The photograph becomes a tool for social and political change, influencing the narrative. It begs the question: how conscious was Van Der Zee of the impact his portraits would have on shaping the public image of this era? Editor: It makes you think about the power of photography not just to record, but to actively construct history. The image now tells the tale. Curator: Indeed. This photograph makes us reflect on art’s public role and visual representation, particularly during times of significant social and political change.