James M. Mannas

Last updated
James "Jimmie" Mannas
James Mannas Jr.jpg
BornSeptember 15, 1941 (1941-09-15) (age 83)
Newark, New Jersey, U.S.
NationalityAfrican American
EducationNew York Institute of Photography, New York University
Occupation(s)Photographer, film director, cinematographer, screenwriter

James "Jimmie" Mannas Jr. (born September 15, 1941 [1] ) is an African American photographer, film director, cinematographer, and screenwriter. He is one of the fifteen founding members of the Kamoinge Workshop (1963), [2] which evolved from the union of Kamoinge and Group 35, two groups of African American photographers based in New York City. [3]

Contents

His black-and-white photography depicts African American New York City street life, avant-garde jazz musicians, dancers, portraits, landscapes, and post-colonial Guyana. [4] T.T. Griffith Archives, a New York-based archivist, preserves a large number of Mannas' photography.

Mannas' artworks are characterized by the political subtext that permeates his photographs and films. His art practice, significantly shaped by the principles of the Kamoinge Workshop, is a testament to his desire to document the complex beauty of Black people despite their harsh environmental and socio-political circumstances. Mannas's photography is defined by his ability to capture iconic times and places, corresponding to the cadence of jazz music.

Early life and Education

Mannas' early life was shaped by his family and the community of Harlem. Born in Newark, New Jersey, on September 15, 1941, Mannas was one of nine children. [4] His family later moved to Harlem, New York, in 1943.

Mannas grew up on 117th Street in Harlem with his friend Shawn Walker. Mannas was introduced to photography by Walker's Uncle Hoover, a photographer who frequently took images around their neighborhood and taught them how to use a camera.When Walker received his first camera, Mannas was inspired to acquire one, too. [5] Based on an agreement with his father, Mannas worked to save money so his father could purchase his first camera, a Kodak Brownie Hawkeye at 11-years-old. [6]

Upon graduating from high school in 1958, Mannas decided to pursue photography and enrolled in the New York Institute of Photography, where he received his degree in 1960. He received a degree in film editing from the School of Visual Arts in 1963. In 1969, Mannas received a certificate from New York University for studies in film and television. [1]

Career

Photography

While Mannas was studying commercial photography in college, he also practiced as a street photographer and worked at the Slide-O-Chrome photo lab processing film. He formed a close bond with his friends Herbert Randall and Albert “Al” Fennar during this time. Louis Draper, a pivotal figure in the group, met Randall in 1958 during a photography class taught by Harold Feinstein. In 1962, Randall introduced Fennar to Draper during a visit to the Museum of Modern Art. This visit, where they saw an exhibition of photography by Robert Frank and Harry Callahan, was a transformative experience that solidified their friendship and led to the beginning of Kamoinge. [3]

Draper, Mannas, Fennar, and Randall began having informal Sunday evening gatherings and started calling themselves Kamoinge. After high school, Walker took a hiatus from photography. However, Mannas encouraged him to attend an upcoming meeting of Black photographers, rekindling his interest in the medium. Concurrently, Draper joined another Harlem-based photography group called Group 35 because every member used 35mm cameras. Group 35 was composed of Ray Francis, the group's founder, along with Draper, Herman Howard, Earl Jones, Calvin Mercer, and Mel Dixon. [5]

The two photography groups officially coalesced to become one in 1963. However, Draper recalls Ray Francis being the first to suggest the groups’ formation, stating “Ray Francis has been the moving force for this gathering…Ray gave the soundest rationale for coming together as a group. He said that we were working in isolation, unaware of one another’s presence. He felt that the nurturing and sharing we could give each other as a group was critical to our growth and development." [5]

Kamoinge Workshop

Anthony Barboza, Kamoinge Members, 1973 Anthony-Barboza Kamoinge-Members 1937.jpg
Anthony Barboza, Kamoinge Members, 1973

The Kamoinge Workshop, which was formulated in the early years of the Civil Rights era and came of age in the Black Arts Movement, consisted of fifteen members, including Louis Draper, Herbert Randall, James Mannas, Shawn Walker, Ray Francis, Al Fennar, Anthony Barboza, Adger Cowans, Daniel Dawson, Herbert Robinson, Beuford Smith, Calvin Wilson, and Ming Smith [7] between 1963 and 1972. 

The word “Kamoinge,” pronounced “kuh-moyn-gay,” [8] was derived from the Gikuyu language [9] of Kenya and means “a group of people acting together.” At a time when Black people were coming into their political consciousness, the name “Kamoinge” became a name that represented an “emerging African consciousness exploding within” them. “For the young artists, the word signaled their collective ambition and linked them to the global Pan-African movement, devoted to liberation struggles in colonized countries and connecting widely dispersed communities of the Black diaspora.” [10] Collective empowerment came in the form of group critiques, educational workshops, mentorships, along with securing advertising work, [11] producing exhibition opportunities and fostering institutional connections. [12] Since some Kamoinge members weren't formally trained in photography, “the workshop served as an important intellectual and scholarly space.” [11]

Kamoinge Workshop Portfolio, No. 1 Kamoinge Workshop Portfolio, No. 1.jpg
Kamoinge Workshop Portfolio, No. 1

The group's ethos was to craft a visual aesthetic that offered representations of Black people as they saw and experienced them, as beautiful and dignified, to reframe narratives around race and photography. [13] “Most Kamoinge photographers fashioned a form of political coverage that differed from mainstream photojournalism: they avoided images of racist clashes and stereotypes of Black poverty, drugs, and violence.” [14] In a statement originally published in the December issue of James Van DerZee Institute's Photo Newsletter, Draper writes, “It is our endeavor to produce significant visual images of our time... We speak of our lives as only we can” [15] to incite the group's dedication to self-determination through image-making.

Kamoinge Workshop Portfolio, No. 2 Kamoinge Workshop Portfolio, No. 2.jpg
Kamoinge Workshop Portfolio, No. 2

The African American photographer Roy DeCarava was instrumental in guiding Kamoinge's visual language and philosophy. [14] DeCarava was the collective's first director in 1963. [16] It was at DeCarva's Sixth Avenue and West 38th Street loft that most of the group's meetings were held in the latter part of 1963. [2] Mannas presided over the Kamoinge Workshop as president from 1976 to 1977, and was acting director in 1979. [2]

Though DeCarava's presidency was short-lived, he remained an active mentor to the group. DeCarava's photography aesthetic left an impression on the Kamoinge photographers, who began to adopt elements of his style, from his intense blacks to his rich shadows and grayscale, [17] along with his photo-realist perspective. The Kamoinge Workshop members developed a range of photographic styles ranging from near-abstractions, social documentary realism, street photography, and portraiture, capturing images of Black people in America and around the world [14] in black-and-white. Members were dedicated to challenging their formal aesthetic while remaining committed to using photography for socio-political reform. [18] Apart from photography, the collective found inspiration from jazz, a music genre that became a soundtrack for the shifting politics of Black people in America, following the philosophical register of the Civil Rights and Black Arts Movement. Jazz offered Kamoinge members the expansion they needed to make art without boundaries; it prompted them to become artistic, intellectual, and geographic explorers, as some members, like Mannas and Ming Smith, who photographed overseas in Guyana and Senegal. The improvisational spirit of jazz replicates itself in the Kamoinge photographs that offer motion and poetry that emanate from a still image. “They created art that embodied racial pride and self-assertion at the same time that, like jazz, transcended boundaries of genre and race.” [19]

Louis Draper had a vital leadership role within the group, [14] “writing many introductions and histories of the Kamoinge Workshop, from handwritten manuscripts on looseleaf paper to typescript drafts and published summaries.” [20] In his statement in Photo Newsletter, Draper wrote about the collective's efforts to self-organize to support themselves and to create a forum of peers who would view their artworks with “honesty and understanding.” [21] An example of this forum of peers manifested as Kamoinge Workshop Portfolio No. 1 (1964) and No. 2 (1965), now at the Schomburg Center for Research in Black Culture. Fourteen out of fifteen of the members are featured in the portfolio, including Mannas. The Kamoinge portfolio “represents fifteen black photographers whose creative objectives reflect the concern for truth about the world, about society and about themselves.” [21]

Cover photo of The Black Photographers Annual, Volume 1 (1973) The Black Photographers Annual, Volume 1 (1973).jpg
Cover photo of The Black Photographers Annual, Volume 1 (1973)

The collective continued to create open forums for themselves and other Black photographers outside the group. In 1973, Beuford Smith founded The Black Photographers Annual, a publication that featured photographs by Black artists, including Kamoinge members. With support from the book's editor, Joe Crawford, Smith published four volumes between 1973 and 1980, featuring written contributions by Toni Morrison, James Baldwin, and Gordon Parks. [22] In Annual's first issue, the esteemed Morrison described the suite of individual works as "some of the most powerful and poignant photography I have ever seen." Stating, "It hovers over the matrix of black life, takes accurate aim and explodes our sensibilities." [23] The publication had enlisted multigenerational voices, including P.H. Polk, a groundbreaking African American photographer, who was 74-years-old at the time. [24] His ten-page portfolio of distinctive works documenting an earlier era preceding Mannas's. The Annual was “thought of as the realization of community in book form.” The publication circulated among young photographers such as Marilyn Nance and Dawoud Bey, who sought out the community that Kamoinge had engendered. [25] Mannas' photographers appear in The Black Photographers Annual, Volume I (1973) [26] and Volume 2 (1974). [27]

After the success of the Annual, several Kamoinge Workshop members, including Mannas, Beuford Smith, and Shawn Walker, joined with other photographers in the community to throw a dinner honoring photography elders. “The organizers named themselves the International Black Photographers (IBP). Eighty photographers attended the inaugural dinner in 1979, each attendee presenting two photographs in a related exhibition.” Following these gatherings in 1979 and 1980, “IBP began publishing what they intended to be a quarterly newsletter in the winter of 1981.” [28] An initiative led by Mannas, the International Black Photographers Newsletter was another example of the Kamoinge Workshop's interest in community-building on a much broader, international scale, stating: “We must build a membership organization so that we can provide a communication channel, through this newsletter, and a way for our own work to be shown..and preserved, through an archive and be an advocacy group for Black photographers.” [29]

Another form of self-authorship came in the form of a larger publication called Timeless (2015), edited by Herb Robinson and Anthony Barboza and co-edited by Vincent Alablso. Published in 2015, Timeless offers reading of the Kamoinge Workshop in the new millennium. Mannas has five images from his time in Guyana, including his well-known images The Shy Girls of Anna Regina, circa 1971-1974 and Motown Lady, circa 1971–1976. [30]

Since its founding, Kamoinge Workshop has provided many contemporary Black photographers, including Mannas, a community and creative support. The collective has been instrumental in shaping a Black aesthetic in photography, while shifting the photographic representations of African American culture. [31]

Artistic Style and Notable Photographs

James "Jimmie" Mannas, No Way Out (1964) James - Jimmie- Mannas, No Way Out, Harlem, NYC (1964).jpg
James "Jimmie" Mannas, No Way Out (1964)

Due to the influence of the Kamoinge Workshop, Mannas’ photographs span street, documentary, and abstract photography. Artworks such as No Way Out (1964), featured in the July 1966 issue of Camera Magazine, are examples of documentary and abstract photography present within Mannas’ practice. The image presents the back of an impoverished Black man with torn clothing, bowing his head in front of a gradient wall that engulfs his silhouette. The image offers a perspective of the Black male experience that confronts social and economic dispositions without exploiting one's image. Mannas recalls feeling sad when making and looking at this photograph because the wall acts as a physical and symbolic barrier between the man and his future. [32]

Mannas’ photographs include figures captured in rich shades of black that emphasize their skin or feature a tonality that balances the darker edges of his pictorial frame. As seen in images like Untitled (Portrait of his Mother), circa 1966 [33] and What Future? (1964), [34] featured in the National Gallery of Art collection in Washington, D.C. Occasionally, his photographs take on a crop that he recalls fellow Kamoinge members not agreeing with [35] but speaks to his artistic autonomy despite their collective influences.

Music Series

Mannas structured his exploration of photographic subjects into specific areas of focus. In his music series, he functioned as a fly on the wall, capturing the Free Jazz and Avant-garde movements of the 1960s. He observed cutting-edge musicians, including Ornette Coleman, Charles Mingus, Cecil Taylor, and Marzette Watts, as they pushed the improvisational boundaries of the genre.

Image of Marzette Wattz by James "Jimmie" Mannas Marzette Watts and Company- Backdrop for Urban Revolution.jpg
Image of Marzette Wattz by James "Jimmie" Mannas

Mannas became a part of this experimental music scene and a trusted member of Watts's entourage, thus gaining unprecedented access to photograph his professional and private lives. A low-angle torso image of Watts is featured on the 1966 ESP album Marzette Watts and Company: Backdrop for Urban Revolution (1966), [36] which Mannas shot. It featured Watts playing the saxophone in front of one of his abstract paintings. However, he was incorrectly credited as "James Maninis." The image is featured on the back of the vinyl sleeve and on the records' label.

Drug Series

Mannas' "Drug Series" developed five years before his 1969 cinéma vérité film Kick, which examined the sweeping heroin usage prevalent in Harlem during that period. Mannas engages with his male subject's full humanity and persona in Quiet Shooting Up (1964), [37] portraying his face and strapped arm. In Tying Up to Shoot (1964), [38] Mannas pivots to an overhead depiction of isolated hands and limbs. The left hand injects the drug into the opposite arm, clearly bound and prepared. The glint of the needle and the clarity of four white fingernails optically resonate a powerful contrast to the blurred tile of the bathroom floor.

Years Abroad in Guyana

James Mannas, Motown Lady, c. 1971-1974 James Mannas, Motown Lady c. 1971-1974.jpg
James Mannas, Motown Lady, c. 1971-1974

In the early 1970s, Mannas moved to Guyana, formerly known as British Guiana. He served as film advisor to the Ministry of Information, Culture, and Youth from 1971 to 1974 [39] under Forbes Burnham, the country's first Prime Minister. Mannas' photographs and films made in Guyana were instrumental in shaping an identity for the newly independent nation. Photographs like Motown Lady, circa 1971–1974, is a visual example of a country shifting from a colonial framework into a new, modern world through the juxtaposition of women, labor, and fashion. [40] The philosophies Mannas embodied from the Kamoinge Workshop complemented the autonomy that Burnham had envisioned for a post-colonial Guyana. [41] Mannas's most notable images were born in Guyana, such as Peeping Seawall Beach Boy, Sea Wall, Georgetown, Guyana (1972) and Bag Lady, circa 1971–1974, featured in The Black Photographers Annual, Volume 2 (1974) and Timeless (2015). In Volume 2 of the Annual, Mannas reflects on the country's influence, stating, "The country is so exciting visually that it would take two or more years to come away with a complete image of it." [42] The "Guyana Series," a visual record of his time spent in the country, comprises an extensive body of his still photography oeuvre. While in Guyana, Mannas worked with Guyanese photographers, taught classes there, and built studios and a darkroom with his colleague Bill Green. [43]

Films

In efforts to broaden his creative reach and garner more commercial opportunities, Mannas took up filmmaking. Following the assassination of Martin Luther King Jr. on April 4, 1968, Mannas took his camera to the street and documented the shock and anger felt in the Brooklyn neighborhood, Bedford Stuyvesant. His experimental film King Is Dead (1968) is a portrait of a community directly expressing their anger and pain, not only with the death of King, but with the abject realities for all black people throughout America. Mannas’ uses close-ups, cutaways and archival footage as key techniques in this black and white documentary. Mannas also made The Folks (1968–1969), a documentary focusing on nine residents in Bedford-Stuyvesant and Harlem. In 1970, they produced an animated film, Naifa, which presented a satirical view on integration. [43]

Apart from taking photographs in Guyana, Mannas recorded films, including a short documentary on the award-winning artist Tom Feelings with his fellow Kamoinge member Danny Dawson called Head and Heart (1977). [44] While in Guyana, Mannas became the managing director of Gillham Productions (1974–76). He wrote a screenplay adapted from a story by Frederick Hamley Case. The resulting movie, Aggro Seizeman (1975), is considered Guyana's first feature film with an all-Guyanese cast. It was shot on 35mm, and was co-directed by Mannas and Brian Stuart-Young. To support the production of Aggro Seizeman, Mannas invited Shawn Walker, Ray Francis, Danny Dawson, and Herman Howard to Guyana. [35]

While studying at New York University (NYU), Mannas created Kick (1969). During his time at NYU, Mannas established Jymie Productions, [43] his film company. Upon his return from Guyana, Mannas was awarded the National Endowment of Arts (NEA) [45] grant in 1977 and 1978, which he used to support the production of a documentary on historic Black churches in Brooklyn. [44]

Selected Exhibitions

2022

2020

2016

2006

1998

1994

1975

1973

1972

1971

1970

1965

1966

1965

1961

Public Collections

Filmography

A Pinch of Soul (2005), director

Head and Heart (1977) (short documentary), director and editor

Aggro Seizeman (1975) (feature film), co-director with Brian Stuart-Young. Written by F. Hamley Case and screenplay by James "Jimmie" Mannas. [53] [54]

Ali the Fighter (1974), cinematographer [55]

Young People (1972), director

Naifa (1970), writer and director

Kick (1969), director (short documentary)

The Folks (1968–1969), director

King Is Dead (1968), [57] director (documentary)

Video Production

Publications

Migan, Darla. "Participant Observers," Art in America, March 17, 2021.

Wallis, Brian. "The Belated Celebration of the Kamoinge Workshop," Aperture, January 14, 2021.

Mitter, Siddhartha. "Take Beautiful Pictures of Our People," New York Times, December 22, 2020.

Eckhardt, Sarah. Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts, 2020. ISBN   978-1-934351-17-8.

Elizabeth Lewis, Sarah, ed. "Vision and Justice," Aperture, Issue 223, Summer 2016.

Schwendener, Martha. "What to See in New York Art Galleries This Week: Louis Draper and 'Timeless Photographs by Kamoing e,'" New York Times, February 4, 2016.

Meyers, William. "Kamoinge Creativity, Shadows, and Painted Portraits," Wall Street Journal, January 8, 2016.

Berger, Maurice. "Race, Civil Rights, and Photography: Kamoinge's Half-Century of African-American Photography,” New York Times, January 7, 2016.

Barboza, Anthony & Robinson, Herb, eds; Vincent Alablso, co-editor. Timeless: Photographers of Kamoinge. Atglen, Pennsylvania: Schiffer Publishing, Ltd., 2015. ISBN   978-0-7643-4974-4.

Duganne, Erina. The Self in Black and White: Race and Subjectivity in Postwar American Photography. Lebanon, New Hampshire: Dartmouth College Press. Published by University Press of New England, 2010. ISBN   978-1584658023.

Duganne, Erina. Gail Collins, Lisa & Natalie Crawford, Margo, ed. "Transcending the Fixity of Race: The Kamoinge Workshop and the Question of 'Black Aesthetic' in Photography," Thoughts on the Black Arts Movement. New Brunswick, New Jersey: Rutgers University Press, 2006. ISBN   978-0813536958.

Gysin, Fritz & Mulvey, Christopher, ed. Black Liberation in the Americas. Münster, Germany: Lit Verlag, 2001. ISBN   978-3825851378.

Taha, Halima. Collecting African American Art: Works on Paper and Canvas.New York, New York: Crown Publishing Group, 1998. ISBN   978-0517705933.

Wills, Deborah. An Illustrated Bio-Bibliography of Black Photographers 1940--1988. New York, New York: Garland Science, 1989. ISBN   978-0824083892.

Crawford, Joe, ed. Black Photographers Annual Vol. 2. Rochester, New York: Rapport Printing Corp., 1974. ISBN   0913564036.

Crawford, Joe, ed. Black Photographers Annual Vol. 1. Rochester, New York: Rapport Printing Corp., 1973.

Porter, Allan, ed. "Harlem: Kamoinge Workshop," Camera Magazine , Issue 7, July 1966.

H. Watts, Daniel, ed. "War on the Poor," Liberator, August 1965.

H. Watts, Daniel, ed. "The Myth of Negro Progress," Liberator, January 1964.

H. Watts, Daniel, ed. "Narcotics in the Ghetto," Liberator, February 1963.

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References

  1. 1 2 Willis-Thomas, Deborah (1989). An Illustrated Bio-Bibliography of Black Photographers 1940-1988. New York: Garland Publishing. p. 98. ISBN   082408389X.
  2. 1 2 3 Anthony Barboza & Herb Robinson, eds; Vincent Alabiso, co-editor. “Timeless: Photographs by Kamoinge.” Atglen, Pennsylvania: Schiffer Publishing, Ltd., 2015. ISBN   978-0-7643-4974-4  p. 76 Retrieved January 10, 2020.
  3. 1 2 Eckhardt, Sarah (2020). "A History of Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. pp. 47–48. ISBN   978-1-934351-17-8.
  4. 1 2 3 Eckhardt, Sarah (2020). Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 279. ISBN   978-1-934351-17-8.
  5. 1 2 3 Eckhardt, Sarah (2020). "A History of the Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 48. ISBN   978-1-934351-17-8.
  6. ↑ "Jimmie Mannas - Working Together: Louis Draper and the Kamoinge Workshop". YouTube. Virginia Museum of Fine Arts. 19 March 2020.
  7. ↑ Eckhardt, Sarah (2020). "Louis Draper's History of the Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 7. ISBN   978-1-934351-17-8.
  8. ↑ Christopher Knight (July 28, 2022). "Review: Black photographers founde"Kamoinge Workshop in 1963. Now their biggest show hits the Getty"". LA Times.
  9. ↑ "Kamoinge History". Kamoinge.
  10. ↑ Wallis, Blair (January 14, 2021). "The Belated Celebration of the Kamoinge Workshop". Aperture.
  11. 1 2 Crawford, Roni (2020). "Reading Between the Photographs: Serious Sociality in the Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 111. ISBN   978-1-934351-17-8.
  12. ↑ ""Jimmie Mannas - Working Together: Louis Draper and the Kamoinge Workshop"". YouTube. Virginia Museum of Fine Arts. 19 March 2020.
  13. ↑ Wills, Deborah (2020). "The Sixties: Louis Draper Shaping Photography," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. viii. ISBN   978-1-934351-17-8.
  14. 1 2 3 4 Wallis, Brian (January 14, 2021). "The Belated Celebration of the Kamoinge Workshop". Aperture.
  15. ↑ Eckhardt, Sarah. "Louis Draper's History of the Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 2. ISBN   978-1-934351-17-8.
  16. ↑ Duganne, Erina. “Transcending the Fixity of Race: The Kamoinge Workshop and the Question of a ‘Black Aesthetic’ in Photography.” New Thoughts on the Black Arts Movement. New Jersey: Rutgers University Press. P.188. ISBN   978-0-8135-3695-8. p. 188. Retrieved January 9, 2020.
  17. ↑ Mitter, Siddhartha (22 December 2020). "Take Beautiful Picture of Our People". The New York Times.
  18. ↑ Eckhardt, Sarah. "An Introduction to Working Together," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 14. ISBN   978-1-934351-17-8.
  19. ↑ Edwin Mason, John. "The Sounds They Saw: Kamoinge and Jazz," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 123. ISBN   978-1-934351-17-8.
  20. ↑ Draper, Louis. "Louis Draper's History of the Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 1. ISBN   978-1-934351-17-8.
  21. 1 2 Louis, Draper. "Louis Draper's History of the Kamoinge Workshop," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 3. ISBN   978-1-934351-17-8.
  22. ↑ "Layers of Louis". Virgina Museum of Fine Arts.
  23. ↑ Crawford, Joe. "Foreword," The Black Photographers Annual Volume 1. Rochester, New York: Rapport Printing Corp. p. 1. ISBN   0913564036.
  24. ↑ Crawford, Joe (1974). The Black Photographers Annual Volume 2. Rochester, New York: Rapport Printing Corp. pp. 68–71. ISBN   0913564036.
  25. ↑ Eckhardt, Sarah (2020). "A History of the Kamoinge Workshop (1962-82)," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 61. ISBN   978-1-934351-17-8.
  26. ↑ Crawford, Joe (1973). The Black Photographers Annual Volume1. New York. p. 48.{{cite book}}: CS1 maint: location missing publisher (link)
  27. ↑ Crawford, Joe (1974). The Black Photographers Annual Volume 2. New York. pp. 82–87.{{cite book}}: CS1 maint: location missing publisher (link)
  28. ↑ Eckhardt, Sarah (2020). "A History of the Kamoinge Workshop (1962-82)," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 62. ISBN   978-1-934351-17-8.
  29. ↑ Greene, Cheryll (Winter 1981). "The International Black Photographers, Where We're Coming From". The International Black Photographer Newsletter I.
  30. ↑ Anthony Barboza, Herb Robinson (2015). Timeless: Photographs by Kamoinge. Atglen, Pennsylvania: Schiffer Publishing, Ltd. pp. 148–153. ISBN   978-0-7643-4974-4.
  31. ↑ Eckhardt, Sarah (2020). "An Introduction to Working Together," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 14. ISBN   978-1-934351-17-8.
  32. ↑ "Working Together". Cincinnati Art Museum.
  33. ↑ "National Gallery of Art: Collections Page: James Mannas, Untitled (Portrait of his Mother)". National Gallery of Art. 23 July 1966.
  34. ↑ "National Gallery of Art: Collections Page: James Mannas, What Future?". National Gallery of Art. 1964.
  35. 1 2 ""Jimmie Mannas - Working Together: Louis Draper and the Kamoinge Workshop"". YouTube. Virginia Museum of Fine Arts. 19 March 2020.
  36. ↑ "Marzette And Company – Marzette And Company". Discogs.
  37. ↑ "Jimmie Mannas, Quiet Shooting Up". Bruce Silverstein.
  38. ↑ "Jimmie Mannas, Tying Up To Shoot". Bruce Silverstein.
  39. ↑ Crawford, Joe (1974). The Black Photographers Annual Volume 2. Rochester, New York: Rapport Printing Corp. p. 82. ISBN   0913564036.
  40. ↑ "Guyana Back Then 1970s - A Conversation with James M. Mannas Jr. and Theresa Chromati". YouTube. T.T. Griffith Archives. 14 April 2021.
  41. ↑ "Black Journal: Episode 33 [The Guyana Nation]". YouTube. 31 March 2021.
  42. ↑ Crawford, Joe (1974). The Black Photographers Annual Volume 2. Rochester, New York: Rapport Printing Corp. ISBN   0913564036.
  43. 1 2 3 Cochran, Sharayah (2020). "Artists' Portraits and Biographies," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 279. ISBN   978-1-934351-17-8.
  44. 1 2 Cochran, Sharayah (2020). "Artists' Portraits and Biographies," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 280. ISBN   978-1-934351-17-8.
  45. ↑ "National Endowment for the Arts: Annual Report 1978" (PDF).
  46. ↑ Eckhardt, Sarah. "A History of the Kamoinge Workshop (1962-82)," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 54. ISBN   978-1-934351-17-8.
  47. ↑ Eckhardt, Sarah. "A History of the Kamoinge Workshop (1962-82)," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 57. ISBN   978-1-934351-17-8.
  48. 1 2 Eckhardt, Sarah. "Chronology," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 288. ISBN   978-1-934351-17-8.
  49. ↑ Eckhardt, Sarah. "A History of the Kamoinge Workshop (1962-82)," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 54. ISBN   978-1-934351-17-8.
  50. ↑ Eckhardt, Sarah. "A History of the Kamoinge Workshop (1962-82)," Working Together: Louis Draper and the Kamoinge Workshop. Durham, North Carolina: Virginia Museum of Fine Arts. p. 54. ISBN   978-1-934351-17-8.
  51. ↑ "Museum Collections Page: James Mannas". MoMA.
  52. ↑ "National Gallery of Art, Collections Page: James "Jimmie" Mannas Jr". NGA.
  53. ↑ "Aggro Seizeman (1975)". IMDB.
  54. ↑ "Aggro Seizeman Trailer". YouTube. 12 July 2020.
  55. ↑ "Ali the Fighter". IMDB.
  56. ↑ "Naifa". New York Public Library. 1970.
  57. ↑ "King is Dead - James Mannas". YouTube. 7 December 2016.
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