Lyle Ashton Harris, *“Americas (Triptych)”*, 1987-88. Black-and-white gelatin silver prints
Edition 5 of 6. Set of 3 prints, each 4’10”H x 5’ 1⁄2” W (framed). Courtesy of Jeanne Greenberg Rohatyn

Written by : Aundréa Verdi

Interview by: Edwin L. Harmon IV

Lyle Ashton Harris, Brotherhood, “*Crossroads and Etcetera #2*” [in collaboration with Thomas Allen Harris], 1994.
Polaroid 2’H x 1’8”W (sheet). 2’11.5”H x 2’2.5”W x 2.5”D (framed)
Nasher Museum of Art at Duke University; Gift of Blake Byrne

Lyle Ashton Harris has carved a remarkable trajectory in contemporary art, utilizing diverse mediums. The retrospective show, "Our First and Last Love," at the Queens Museum showcases Harris's artistic development with over forty pieces spanning his multifaceted career. Opening on May 19th, the exhibition analyzes themes of identity, memory, and cultural confluence, encapsulating over four decades of his provocative and reflective work.

The exhibition immerses viewers in a narrative that unfolds Harris's personal and artistic odyssey. Born in the Bronx in 1965, Harris has become a central figure in contemporary art, particularly within Black and queer communities. The curation follows Harris's journey, from his early years in New York to transformative periods in Tanzania and Ghana, weaving a global tapestry that informs his practice. This retrospective offers a comprehensive survey of his creative progression, drawing visitors into a dialogue about the complexities of lived realities.

The assemblages in "Our First and Last Love" stand as his magnum opus, skillfully blending fragments of his past creations and historical references. These works, notably from the "Shadow Works" series, combine photographic prints with African textiles and personal artifacts.

Each artwork resonates with layers of history and intimacy, crafting a rich visual experience filled with intricate details that captivate and engage the observer. Each image prompts contemplation, visually tracing Harris’ evolution. The juxtaposition of disparate materials creates a dynamic interplay, inviting viewers to delve deeper into Harris' artistic inquiry and the broader cultural contexts he investigates.

Lyle Ashton Harris, “*Yamantaka*”, 2020.
Ghanaian cloth, dye sublimation prints, and artist’s ephemera. 3’ 4.62”H x 4’ 1.75”W (framed).
Private Collection

Harris addresses pressing social issues throughout the exhibition with a poignant yet nuanced touch. The show seamlessly integrates his visual explorations at the crossroads of Black and queer perspectives. Works like "Deceivers and Money Boys" challenge viewers to confront the violence and marginalization embedded within societal structures. Through powerful imagery and symbolism, Harris sparks conversations about systemic injustices, causing critical reflection on contemporary realities. His art catalyzes dialogue while advocating for empathy and social change.

The curatorial vision behind "Our First and Last Love" is commendable. It emphasizes Harris's role as both an artist and cultural historian. The exhibition tells a story that celebrates Harris's achievements while underscoring broader socio-political contexts shaping his practice. It tactfully unveils Harris's pivotal contributions to the visual arts, delving into topics of race, queerness, and societal visibility.

"Lyle Ashton Harris: Our First and Last Love" is a profound meditation on identity and community. His ability to navigate intersections of race, sexuality, and history with depth and sensitivity highlights his enduring significance in art. This exhibition honors Harris's legacy and encourages visitors to consider our collective past and present complexities.