CHADDS FORD, Pa. — A striking new photography exhibition has opened, capturing the haunting remnants of cultural heritage. Frank Stewart’s evocative image of a New Orleans church organ, devastated by Hurricane Katrina’s floodwaters, initially resembles an aerial view of a war-torn cemetery, with charred coffins and toppled tombstones.
Upon closer inspection, the details reveal that the scene is composed of a keyboard, with inscriptions like “vibrato” and “third harmonic” replacing traditional names and dates.
“It looks like a graveyard,” Stewart reflects, capturing the haunting beauty and somber reality of his subject matter.
The featured work is part of “Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present,” currently on display at the Brandywine Museum of Art until September 22. This exhibition marks the final stop of a national tour organized by prominent art institutions.
In his post-Katrina exploration, Stewart aimed to document the significant influence of Black churches on American culture, illustrating the intersection of music, devastation, and community identity. “This organ, the music and everything corresponds. It all comes together,” he explains.
Music plays a central role in Stewart’s work. A veteran photographer of the Savannah Music Festival and former senior staff photographer for the Jazz at Lincoln Center Orchestra, he has spent decades capturing the essence of the jazz and blues traditions.
His connections run deep, with personal ties to noteworthy figures in the music industry, including a memorable photograph of Wynton Marsalis during “Blood on the Fields,” a Pulitzer Prize-winning jazz oratorio.
Stewart, born in Nashville and raised in Memphis and Chicago, draws inspiration from the rich tapestry of his upbringing and the music scene around him. Historically significant photographers have influenced his vision, leading to an artistic approach that transcends simple documentary work.
Despite the challenges faced by his predecessors, Stewart has carved out a unique path, blending artistic expression with keen observations of reality. “I consider myself an artist more than a documentarian,” he asserts, emphasizing the need for clarity and meaning in each of his images.
Stewart’s evolution is evident throughout the exhibition, showcasing a transition from early black-and-white photography to vibrant color prints that celebrate cultural narratives and historical contexts.
“It’s two different languages,” he describes, highlighting the profound impact that color has had on his storytelling.
Stewart poignantly reflects, “Reality is a fact, and a photograph is another fact,” underlining the nuanced relationship between our lived experiences and their visual representations.
