Washington School for Girls Explore Self-Expression through Studio-Portraiture

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Education Assistant Davinna Barkers-Woode used Frank Stewart’s work as inspiration to develop a studio portraiture workshop for the Washington School for Girls as part of the Focal Point: Shifting Perspectives through Photography student exhibition (on view through September 10).

Frank Stewart, Endangered Species: David Hammons (detail), 1981 (printed 2021), Gelatin silver print, 19 15/16 x 16 in., Philadelphia Museum of Art, PA, Purchased with the Lynne and Harold Honickman Fund for Photography, 2021

Last summer, I saw 7th and 8th-grade students from the Washington School for Girls blossom into their authentic selves during our time working together. This spring, meeting a new class of 6th graders reaffirmed the fulfillment I derive from my work in the Phillips’s Education Department. This project holds a special place in my heart for two reasons: the opportunity to dive deeper into Frank Stewart’s photographic process and the opportunity to foster the students’ self-expression by providing them with a way to capture themselves in this present moment forever. With these two things in mind, I developed a project that would give the students a foundational understanding of essential compositional elements in photography, such as perspective and viewpoint. Inspired by Frank Stewart’s masterful utilization of these elements to enhance the narratives of his travels and encounters, I sought to convey their significance to the students. For instance, in Endangered Species: David Hammons, Stewart skillfully employs an eye-level viewpoint to position the viewer directly in front of the model, fostering an intense and intimate encounter.

Through this example, the students learned how viewpoint plays a pivotal role in situating the audience in relation to the subject, influencing their perception and emotional connection. Following this, students were encouraged to experiment with different viewpoints, allowing them to discover the power of perspective in their image-making.

8th grade students experimenting with viewpoint using their iPhones

Mirrors and reflective surfaces are another unique component of Stewart’s artwork. These elements serve as conduits for expanding the perspectives within his photos, infusing them with depth and three-dimensionality.

Left: Frank Stewart, Self-portrait, Dominican Republic, 1986, Gelatin silver print, 16 x 20 in., Collection of the artist; Right: Frank Stewart, Ahmad Jamal, 2013, Inkjet print, 30 x 20 in., Collection of Sing Lathan and Bining Taylor

Drawing inspiration from this aspect, students were provided with mirrors and invited to play with perspective and explore the captivating possibilities of reflective surfaces. Through this activity, students honed their technical skills and deepened their understanding of how to add depth and space to a two-dimensional photograph.

6th Grade Maya S. Untitled

6th Grade Students being photographed

Most importantly, students reflected on self-expression and identified how they presented themselves to the world. Photographs of studio portraits in the Phillips’s permanent collection were incorporated into our lesson to facilitate this exploration. Students were invited to look closely at the facial expressions, poses, and even outfits of the individuals depicted, prompting them to question and interpret visual cues of their personalities. By showcasing how others utilize studio portraiture for self-expression, we dove into a thought-provoking conversation about how the students could authentically convey their unique personalities through their photographs. To further support this endeavor, Johnnies Flowers, a flower shop in DC, partnered with us and provided the 8th-grade students with flowers to create individualized bouquets that represented their personalities. 6th and 7th graders brought personal items that encapsulated their identities, facilitating a profound connection between their inner selves and the visual representations they aimed to create.

Left: 6th Grade Kaylee G., Feeling Myself; Right: 8th Grade Catherine J., My Season has Come to Bloom

With each click of the camera shutter, the students expanded their understanding of the transformative power of perspective and viewpoint. They realized that these choices could shape the narrative of their images, inviting viewers to experience the world through their eyes. They discovered the ability to infuse their photographs with depth and multidimensionality through reflective surfaces. Yet, this project was about more than technical proficiency or aesthetic prowess. It encouraged the students to embark on a journey of self-reflection and self-definition, capturing moments that authentically expressed their individuality and personal narratives.

8th grade students waiting to take their photos with their bouquets

Group photo of 6th grade students

Duncan Phillips Writings on Art

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The new book Duncan Phillips Writings on Art (published by The Phillips Collection in association with Spring Publications, 2023) is the first gathering of these texts devoted exclusively to this essential side of the man who founded The Phillips Collection. The book was edited by Chief Curator Emeritus Klaus Ottmann, who shares some thoughts on the book.

The idea for putting together a collection of Duncan Phillips’s writings on art first came up during our initial conversations about the Phillips Centennial in 2021, as a way to honor Phillips and share some of our rich archives. Over several decades, Phillips wrote scores of books, articles, and addresses that reveal his views on art—his idiosyncratic collecting philosophy remains a guiding principle for the museum’s growing collection. He wrote about a wide range of topics, from an art-historical treatise on Giorgione to his evolving thoughts on his collection as it grew and shifted toward modern and contemporary art to catalogue essays on individual artists and editorials and articles for various art journals. I worked closely with Karen Schneider, the Phillips’s former Head Librarian, and Curator Sue Frank on selecting the texts; we could not have published his volume without Sue’s insightful and well-researched introduction. Among Phillips’s better known texts, such as “A Collection in the Making” and “The Artists Sees Differently,” there are many lesser known, yet equally compelling texts. One that I found especially interesting is “Art and the War,” published in June 1918, three months before the end of World War I, in The American Magazine of Art.

In his 1918 article Phillips made a case for artists to be sent to the battlefields: “Our nation, from the very beginning of its physical participation on the battlefields of the war, should have artists at the front to represent it and to collect for its archives standardized pictorial records. General Pershing has asked for American artists and the men who compose the Division of Pictorial Publicity have already, with the authorization of the Government, selected eight artists to sketch what they see on our sector of the Western Front. It may be wise to send more artists later on, but the quality of the work they would do must be the first consideration and a few artists of brilliant talent for vivid artistic expression will meet the need of the nation for pictorial records better than four times as many mediocrities, however excellent their intentions and ambitious their efforts.”

George Luks, Blue Devils on Fifth Avenue, 1918, Oil on canvas, 38 5/8 x 44 1/2 in., The Phillips Collection, Acquired 1918

The US Army indeed began enlisting artists during World War I, when eight artists were sent to the war in Europe, and during World War II, more than one hundred U.S. servicemen and civilians served as “combat artists.” In 1943, Duncan Phillips was appointed one of the members of the Art Advisory Committee that selected the artists.

Pick up your copy in the Museum Shop or online at shopphillipscollection.org!

The Phillips Collection Salutes Pride: The Spirit of Belonging

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Horning Chair for DEAI Yuma Tomes reflects on Pride month.

Pride stands for courage, justice, and most of all love. Pride month began after the Stonewall Uprising, a series of events between police and LGBTQI+ protestors that spanned six days in 1969. While June 28, 1969, was not the first time police raided a gay bar and LGBTQI+ people fought back, the events sparked a six-day movement that fundamentally changed LGBTQ+ activism in the United States. Many activists consider the Stonewall Uprising as the birth of the gay liberation movement. The first Pride march was held on June 28, 1970, on the one-year anniversary of the Stonewall Uprising.

Following the Stonewall riots and the first pride marches, the number of LGBTQI+ groups rapidly increased, and the pride movement spread across the United States. From then to today, there has been groundbreaking legislation and efforts toward the advancement of equality for the LGBTQI+ community in America. Members of the LGBTQI+ community serve openly in all capacities across the country, including as politicians, teachers, pastors. While this progress is and should be celebrated, it is still at risk due to recent anti-LGBTQI+ legislation and tragic events. The Stonewall Rebellion is a touchstone for the modern-day LGBTQI+ rights movement. As we recall the trials the LGBTQI+ community has endured and celebrate the trailblazers who’ve bravely fought for equality, let us recommit to the work that remains.

Visitors with Zilia Sánchez's Lunar works in the Goh Annex Stairwell

Zilia Sánchez: Soy Isla exhibition in 2019, Lunar (Moon), 1985, Acrylic on stretched canvas, 71 ½ × 73 ½ × 14 in., Collection of Ignacio J. López Beguiristain and Laura M. Guerra, San Juan; Lunar (Moon), c. 1980, Acrylic on stretched canvas with custom wooden base, 23 × 21 ¾ × 5 in., Collection of Mima and César Reyes, San Juan. Photo: Rhiannon Newman

In the eyes of Duncan Phillips, “seeing differently” was more than a statement, it was a life commitment. The Phillips Collection proudly highlights LGBTQI+ artists in our permanent collection and special exhibitions such as Minor White, Lyle Ashton Harris, Joan Snyder, Keith Vaughan, Robert Mapplethorpe, and Zilia Sánchez to mention a few. Some of their works push the envelope on traditional, majority thinking and awaken creative thought and activism. The Phillips Collection continues to work to thoughtfully acquire and exhibit works by artists who identify as LGBTQI+ in an effort to support the community and build a collection that reflects more inclusive stories. Internally, the staff has participated in Diversity Inter-Dialogue Sessions about LGBTQI+ education and awareness—learning sessions that help ensure that the Phillips remains a safe space for LGBTQI+ individuals. DIDS are focused on strengthening internal linkages on diverse and multicultural topics to better serve visitors and increase collegial belongingness at the Phillips. But there is always more to learn and room to grow. Additionally, the Phillips will have a Pride-themed Phillips after 5 on June 1 to kick-off Pride Month, and will be participating in the annual Capital Pride Festival on June 11—come visit our booth!

Minor White, Dock in Snow, Vermont, 1971, Gelatin silver print, 13 3/4 x 10 3/4 in., The Phillips Collection, Gift of the Phillips Contemporaries, 2006

Awareness months are opportunities to deepen our knowledge of and attention to the histories and contemporary experiences of historically marginalized groups like the LGBTQI+ community. However, the focus on celebrating these communities over one month can further marginalize the very experiences we are hoping to elevate. The Phillips Collection honors the commitment and fortitude of LGBTQI+ individuals 365 days a year. I invite our Phillips friends and supporters to engage with important themes raised by Pride Month this June and throughout all of the months of the year.