Ones to Watch 2021: Donavon Smallwood

Reading Time: 2 minutes

Each year, British Journal associated with Photography presents its   Types To Watch – a selection of twenty emerging image-makers, chosen from a list of nearly 450 selections. Collectively, they provide a home window into where photography is usually heading, at least in the eyes of the curators, editors, agencies, festival producers and photographers we invited to nominate. Throughout the next few weeks, we are sharing profiles of the 20 photographers, originally published in the newest issue of BJP, delivered direct with the 1854 Membership .  

Smallwood’s meditative series Languor centres upon Central Park’s wide-open landscapes and Black individuals pictured at rest amid them 

Donavon Smallwood regards photography as a collective project. “A tradition [every photographer] is contributing to and building upon, ” as the native New Yorker articulates it. And photo taking histories echo throughout each of his brooding black-and-white pictures, which nod to the function of Vanessa Winship, Judith Joy Ross, Dorothea Lange zeit, Robert Adams, and many others.  

Self-taught, aside from a pictures class he took in high school, Smallwood’s voracious study of books and the web account, in part, for his deep understanding of the moderate. “When I first began, early masters like Bill Eggleston, Walker Evans plus Bruce Gilden most curious me, ” he reflects. “I was walking around trying to sneak up in front of individuals in the street. But after a while, I actually developed a style of my very own. ”

© Donavon Smallwood.

© Donavon Smallwood.

Distinct from Gilden’s confrontational, tightly framed city portraits, Smallwood’s images possess a stillness running through all of them. It is a serenity enhanced from the photographer’s preference for taking photos of in verdant settings (for both commercial and personal projects), devoid of the chaos and infrastructure of the city. Since Ones to Watch nominator Brian Brandon Geeting describes: “Donavon’s images are a rare cross of being simultaneously calm plus striking… The emotional weeknesses he pulls from his subjects, both animate and inanimate, feels more akin to music: a song that engulfs you in its warmth. A chord that gives you goosebumps. Donavon is a visible poet. ”

Smallwood’s affinity for green spaces partly stems from his growing up within New York’s Harlem, where he still lives, alongside Central Park. He describes the city of his youth as a labyrinth of perpetual advancement: dirty streets, construction, open up lots. Central Park was obviously a refuge, a place to relax. “Working out how to translate that will into photography always serious me, ” Smallwood proceeds.

© Donavon Smallwood.

The pandemic provided a pause in which to figure this out. The result is Languor – a meditative collection for which Smallwood won the particular 2021 Aperture Portfolio Prize and which is currently on show at Baxter Street, NY , until 25 August and which Trespasser publishes as a book this summer. The project centres upon Central Park’s wide-open landscapes and Dark individuals pictured at rest amid them. A family portrait of “Black tranquillity, ” as Mikelle Street, writing for Aperture , explains it, and one that focuses on young people, who Smallwood discovered inside and outside of the recreation area, to express the space’s significance in escaping the regarding the city.  

The word ‘languor’ itself has several symbolism, including laziness and lethargy, calmness and tranquillity; the duality Smallwood regards because encapsulating the work, which together with celebrating the park, also offers troubling undertones. Indeed, Smallwood’s relationship with the green space changed after watching The Lost Neighborhood Below New York’s Central Park , a video documentary revealing the destruction of the 19th-century, predominantly African-American community Seneca Village to make way for public room. In this way, Languor also turns into a “reflection of self-expression with the history of a place, ” because Smallwood puts it. “A representation on the history of racial tensions in the city. ”

Hannah Abel-Hirsch

Hannah Abel-Hirsch joined British Journal of Photography in 2017, where she is presently Assistant Editor. Previously, the lady was an Editorial Associate at Magnum Photos, and a Studio Assistant for Leslie Meiselas and Mary Ellen Mark in New York. Prior to which, she completed the BA in History of Art at University College Greater london. Her words have also made an appearance on Magnum Photos, multitude of Words, and in the Royal Academy of Arts publication.

No Newer Articles

Leave a Reply

Your email address will not be published. Required fields are marked *