Another exhibit has been overshadowed by controversy, at the Brooklyn Museum called, Committed to the Image, is one of the largest exhibitions of living African American photographers is on view at the Brooklyn Museum of Art from February 16 through April 29, 2001. It includes ninety-four photographers, with each represented by two works. But this time New York Mayor Rudolph Guliani has undermined the exhibit, attacking a photograph of the Last Supper. In the artist's version, Jesus is depicted as a black woman in the nude. Her deciples are all black men, except for Judas, who is a Caucasian male. Although highly controversial this image is not truly the focus of the exhibit.
A break through exhibit which presents many aspects of African American culture, while showing each photographer's ability to capture life. The artwork ranged from being political and social statements to strong artistic statements. Each piece leaving your mind to ponder the ultimate meaning of the photographer, or the work itself.

A board of authorities at the museum selected 94 artists, accepting two pieces from each artist. The work represents themes that reflect on the past and the present. The photographers come from many different backgrounds and age groups, which in return makes the exhibit culturally and socially diverse. The prints, like the photographers themselves, are very different ranging from the new, such as ink jet prints, to the more traditional.The big orange boards, which consist of quotes by prominent African Americans, only add to the ambiance, of the show, and places each of the pieces in particular categories such as: beauty, fantasy, religion, performance and politics. Every piece reflects the individuality of the photographer and his or her experiences.
John Pinderhughes is a photographer featured in the show, whose work has been shown internationally. He carefully places each image and object to create, a specific composition, that insinuates to the viewer his emotion. Mr. Pinderhughes "discovered" the camera in the 1960's while in college. Since then it has become his passion and his profession.

HarlemLive: Why do you think you were selected for the exhibit?

John Pinderhughes: I believe they were looking for working and experienced photographers.

HL: The primary criteria for selection were originality and standard of printing, social or historical significance and subject matter. What do you think was your strong point?

JP: Technically, I'm very good. I am able to delve deep into my work and create pieces that are distinctive.

HL: Have you seen your work on display at the museum? What do you think of the placement?

JP: Yes [I've seen it]. I don't think any photographer, is ever happy with the placement, but I am still delighted to be apart of the exhibit.

HL: What have you learned from the photographers before you like Gordon Parks? What do you think your generation of artists has done differently or the same?

JP: I am a part of a group called Kamoinge. Kamoinge is a group of African American artists who have been together for years. We look at each other's work and critique it. I myself am primarily self-taught.

HL: How has the computer age or new technology influenced your work?

JP: I totally embrace it. It's real photography, [referring to the many inkjet prints in the show]; it's a new tool.

HL: What is your take on the "anti-Catholic" work?

JP: I think it's much ado about nothing. It has been showed overseas and not a word was said about it. The piece is definitely not the strongest in the exhibit.

Committed to the Image, comes with a catalogue published by Merrell (soft-cover $24.95, hardcover $39.95) that includes essays by Deba P. Patnaik, a poet, translator, and critic who has written widely about contemporary photography, and Clyde Taylor, a film historian, cultural critic, and essayist.

Brooklyn Museum of Art