Collected Works 2018—2021
Initiated April 2021, Completed June 2021 — Kendall Henderson
My relationship to Colette Pomerleau began several years ago as she was introduced to me online through a mutual connection. Over the years I have been slowly watching her eye capture subtle still moments over instagram and falling in love with the understated aesthetic she has been building with these images. This type of imagery was well suited for the inspiration and initiation of the "sealed archive of otherwise personal instagram content" concept that would later develop.
Initial casual project brief, description & conversation. via Instagram:
Kendall: You wanna work on something with me?
Colette: What if I said yes blindly.
Kendall: Then I would give you the details.
Colette: Yes ✨
Kendall: I basically wouldn't need you to do much besides collate your images :)
I have been trying inspire myself to do design work / art direction of projects that feel more like art works, or at least more that exist off screen.
Kendall: I have been toying around ways to show the 1000s of my photos that don't end up on instagram, due to them not being "good enough" or whatever social reasons, or just simply personal editing.
Following so far...?
Colette: I am :)
Kendall: So, I wanted to explore the idea of an archive of photos meant for publishing, those meant for instagram, and those almost seeming forgotten. All mixed into the same document.
Then I thought, why use my photos when I can use someones that I admire and someone who actually creates artful images with their eye and camera.
The format was inspired by a couple design things i've seen around.
Using the glue edge on all the exposed sides.
Almost sealing the the photos in the book.
Colette: Can I see the thing that inspired you?
So like similar, but you wouldn't tear into the pages... but I guess one could.
Initiated February 2020, Completed February 2021 — Colette Pomerleau, Kendall Henderson, Sophia Marinelli
Initiated September 2020, Completed February 2021 — Kendall Henderson, Sophia Marinelli
- Ultra familiar
- Spelled out Info
- Default Typography
- Understated Quality
- Super readable
- Comfortable type choices
- Academic by nature
- Identifying content, generous margins. List Form
03 Point ~ Counter Tertiary
- Technical / clumsy
- (un)refined / (un)sophisticated
- Low brow / high brow
- Accidental success
- Freudian slip
Initiated September 2019, Completed November 2019 — Kendall Henderson, Nick Weltyk
JAMES OLIVER HORTON
Was the Benjamin Banneker Professor of American Studies and History at George Washington University, who's works were contemplated when forming this sequence.
pg 36 Slavery and the Making of America
pg 40–41 Slavery and Public History, the tough stuff of American history. Chapter 3 Slavery in American History an Uncomfortable National Dialouge.
"Popular novels and films portrayed slavery in
romantic and sentimental terms, casting slaves as childlike creatures who
often exasperated lovingly benign white masters. Generally, textbooks
reinforced this view."
Initiated July 2020, Completed August 2020 — Kendall Henderson
Initiated February 2020, Completed March 2020 — Michael Malowanczyk, Kendall Henderson
Initiated May 2019, Completed January 2020 — Jackson Cantor, Kendall Henderson
- Unique feature imagery
- 4up Shop
- Large Look Product Pages
- Categorized Editorial Buckets
- Need to Know Collapsed Header & Footer
- Featured Product & Stories
- 4up Shop
- Process & Material Story
- Expanded Header Nav & Trending Items
- Editorial Masthead
- Store Images
- Home Page Peeking
- Style, Color and Size Nav
Initiated December 2018, Completed February 2020 — Dinesh Dave, Kendall Henderson
He took my hand. Led me to the red carpet. I stopped myself before reaching the road, In objection. "But I have no shoes to dance the dance," I said. And In my objection I stepped into the shoes and his grin grew gaudier. With uncertainty and one crooked foot in front of the other, I began to dance. His talons now grip my bleeding hands. Descending came the shadow of my eyelids revealing the red carpet to me. So vast and so appealing! How could he be so kind to share all of this with me? Here we are many years later. Me facing the devil, dancing the same dance of yesterday.
After the uprisings last year and even before then I've been consistently thinking about how we can successfully achieve our visions without the coercion of capitalism. When I think about the type of career I want to build for myself it has a lot to do with the freedom to express myself in the way I see the best fit. Entering the world of photography has been both invigorating and uninspiring simultaneously . There is this unfortunate fixation on someone being the first and the youngest that creates a delusion around assumed access. "Responsibility without power is a mockery and a farce." (W.E.B. Du Bois)
Will we have proper time to grow and nurture our gifts? When each institution that we assimilate to is owned by the prior stakeholders, who is really in control? Is first and young, the path to power and true growth? Is this really all we have to offer as the image-makers of the future? I dream about being able to create my visions without the transactional conditioning of capitalism and you all should too. I will be the first to say that I am guilty of this as well, and the problem can not be solved by one individual. We might be "getting money", but we should be careful about the mirages we sell to our communities, especially when it means selling our identities back to us. What will be left of us?
There's a responsibility that rests on the shoulders of photographers who are Black to not be lazy about propping up false images. As image-makers, we have a responsibility to perception, and it's better to tell the truth than to feed a lie. Buying from Black-owned businesses does not mean subscribing to capitalism although be it at the moment supporting us. And at the same time, it's unfair, isn't it? It's unfair that we shouldn't indulge the vain luxuries that come with participating in the democratization of telling the world what it means to be Black in America. It's unfair, isn't it? Is it unfair that we might hold the "youngest Black photographer" accountable for pretending to be an agent of change in the face of cronyism and ignorance? It is disappointing to see advertisements and magazine covers be enough to satisfy our years of effort. Shaking the table and shaking hands are two different things.
Some of our focus seems to be on false progress; here we are a year later assimilated into what we preached against. I may never be the "first," "youngest," or give up my body to the old and wicked who lust at it, nor do I desire to, and that's okay. My identities are sacred to me. So, if I have to dance the dance I hope I'm able to save myself from the dance when I can. My aim is to hold the door open and lend a hand when and where I can. We're all guilty on the red carpet and not a single person is to blame. We all have red hearts and blood on our hands.
Not much has changed, and all is well in the devil's heaven.
Completed March 2021 — Adraint Khadafhi Bereal
Initiated September 2020, Completed November 2020 — Thee Tham, Kendall Henderson