The Brooklyn Museum is currently hosting an extensive exhibition titled “Seydou Keïta: A Tactile Lens,” which provides the most comprehensive North American overview of the renowned Malian photographer's body of work. Curated by Catherine E. McKinley, this showcase features nearly 300 images, many of which have never been publicly displayed, alongside personal artifacts belonging to Keïta, such as vintage cameras. Keïta’s artistic journey began in Bamako under French colonial governance, a period when photography by Africans was legally restricted. Despite these challenging circumstances, he emerged as Bamako’s most in-demand photographer, capturing the essence of various individuals from Malian society for over 25 years. This exhibition underscores the significant cultural and historical impact of his work, bringing to light the narratives of a society in transition.
This significant exhibition arrives at a crucial juncture for recognizing and appreciating African photography on a global scale. It offers a fresh perspective and expanded understanding of Keïta’s contributions, presenting a unique opportunity to delve into his artistic legacy and the broader context of his era. The show also highlights the critical role of design in his photographic creations, revealing an often-overlooked aspect of his genius. By incorporating textiles, jewelry, and other accessories alongside his photographs, the exhibition provides an intimate look into Keïta’s creative process and his deep connection to the community, enriching our perception of his work beyond mere portraiture.
Seydou Keïta's Enduring Legacy: Photography, Design, and Malian Identity
The Brooklyn Museum's "Seydou Keïta: A Tactile Lens" exhibition offers an unprecedented deep dive into the oeuvre of the celebrated Malian photographer. Guest curator Catherine E. McKinley has meticulously gathered close to 300 images, including many never-before-seen works, alongside personal effects like Keïta's vintage cameras. Born in Bamako during a period of French colonial administration, Keïta established his photography studio against a backdrop of political turbulence, navigating and ultimately overcoming French laws that initially prohibited photography by Africans. Over more than two decades, he rose to prominence as Bamako's most sought-after photographer, documenting a diverse cross-section of Malian society, from government figures and intellectuals to artists and the burgeoning middle class. This comprehensive survey sheds light on Keïta's profound influence on African photography and his unique ability to capture the evolving identity of his nation through his lens.
Keïta's work is distinguished by its rich tapestry of hand-woven fabrics, intricate gold and beaded adornments, and the striking presence of individuals with hennaed hands and feet, often juxtaposed with military personnel in formal attire. These elements are not merely aesthetic choices but are central to understanding his artistic vision and the cultural context of his time. The exhibition emphasizes the timeliness of revisiting Keïta's work, particularly as African photography gains increasing global recognition, with other major retrospectives, such as one at MoMA, also on the horizon. McKinley's curation provides new information and a fresh interpretative framework, moving beyond previous understandings to highlight the narrative power embedded in his portraits. The inclusion of personal items and insights from Keïta’s family fosters a deeper intimacy with his work, illustrating how his photography was a reflection of community values and a powerful means of self-expression within a rapidly changing society.
The Intersection of Art and Activism in Keïta's Vision
Catherine E. McKinley, the guest curator of “Seydou Keïta: A Tactile Lens,” dedicated nearly two years to the exhibition, though her engagement with African photography and textiles spans decades. Her initial encounter with Keïta's work in 1991 sparked an immediate fascination, which deepened into a profound appreciation. A pivotal moment in the exhibition's development was McKinley's visit to Bamako, where she met with the Keïta family. This direct engagement was crucial for unearthing new facets of the artist’s life and work, allowing her to move beyond established narratives. The exhibition highlights Keïta’s remarkable achievement in defying colonial-era French laws that restricted photography by Africans, establishing a thriving studio practice that captured the spirit of a society on the cusp of independence. His work, often seen as a subtle form of political commentary, portrays the dignity and aspirations of the Malian people, even though Keïta himself did not identify as a political figure.
McKinley's curatorial approach deliberately explores the intricate relationship between design, spatial aesthetics, and historical context within Keïta’s photographs. She argues that Keïta was an overlooked "design force," whose keen eye for patterning and composition set him apart. His photographs are not merely static portraits but dynamic compositions that reflect the fashion and material culture of his time, providing a visual history of Malian society. The exhibition consciously integrates textiles, clothing, jewelry, and other personal objects to create a more intimate understanding of Keïta’s artistic process and his connection to the community. This approach reveals how his work expanded the understanding of photography as an act of personal and cultural agency, allowing his subjects to assert their identities. Furthermore, the exhibition serves as a call to re-examine historical narratives, urging viewers to engage with images with a critical and empathetic perspective, acknowledging the layers of meaning embedded within each frame and appreciating the profound soulfulness Keïta captured in his subjects.