Jamel Shabazz: New York Moves and Black Communities
Last Friday saw two events coincide: the opening of the exhibition *Jamel Shabazz: New York Moves and Black Communities* and the Museum of Photography’s summer festival. Despite construction work directly in front of the two gatehouses on Helmstedter Straße, the turnout on this beautiful summer evening was impressive. The opening speeches were held in the southern gatehouse (the one on the right when approaching from the city center). Shortly before the event began at 7 p.m., the air inside had already become almost unbearably stuffy, prompting some guests—perhaps also because seating was limited—to gather either outside the gatehouse or in the museum garden.
Organized in cooperation with Kunsthaus Nürnberg, the exhibition presents both color and black-and-white photographs spanning the early 1980s to 2010. The images primarily capture the spirit of the 1980s, with ghetto blasters, customized cars, and impeccably dressed women. But one thing they are not, at least in my view, is socially critical. That is unfortunate, especially since museum director Barbara Hofmann-Johnson mentioned in her opening remarks that Shabazz first gained recognition through his photographs of Black inmates in American prisons. That comment raised certain expectations for me, expectations that ultimately were not fulfilled by the exhibition itself. Personally, I find that disappointing, although perhaps social criticism was never the intention of this exhibition. And yes, it is summer festival season. Perhaps this is simply a time to enjoy oneself without overthinking things.
Ghetto Blasters and Hip-Hop Vibes
As is often the case with exhibition openings, the evening began with the more or less successful speeches of the usual dignitaries. Unfortunately, they ranged from uninspired to somewhat embarrassing. Right from the first speech, the potential for second-hand embarrassment was considerable. It quickly became apparent that awkward jokes—such as desperately trying to remember the term “ghetto blaster”—were intended to create a relaxed atmosphere. Unfortunately, this completely missed the mark with the more knowledgeable members of the audience.
Equally cringeworthy was the remark that a guided tour would be quite helpful for understanding the exhibition. Perhaps that is true for particularly conventional and conservative visitors who know little about the lives of Black people in the United States and live comfortably within their own bubble of privilege. Even so, the joke would have been better left unsaid. In any case, the opening speeches are hardly worth dwelling on. What matters is the exhibition itself—the photographs, which speak for themselves and convey the atmosphere of a particular community during a particular period.
The Eighties, Through and Through
By this point, we felt we had heard enough. We left the now sweltering southern gatehouse and crossed over to the second building. It was pleasantly quiet there. Some visitors had already settled into the garden behind the gatehouse, while a smaller group had begun exploring the exhibition. We started in the northern gatehouse, where we first looked at the *Album 1983–2005* series and other works from the 1980s. It did not take long before we were immersed in the era’s unmistakable fashions, hairstyles, and gestures: shiny nylon tracksuits, faux-leather outfits, and heavily teased hair. Many scenes feature fast, expensive cars straight out of *Miami Vice*, complete with the Crockett and Tubbs aesthetic, often accompanied by glamorous women in revealing outfits and carefully staged poses.
Yes, we thought, these are beautiful photographs—but somehow it all felt familiar. We then moved on to the section titled *Hip Hop and Music Culture*. And there they finally were: the ghetto blasters, proudly displayed in group portraits or casually balanced on shoulders.
Rush Hour, Hot Fun, and a Time of Innocence
Finally, we crossed back to the southern side. Once the “opening caravan” had moved on, we ventured back into the first gatehouse. Here the exhibition continued with photographs of the New York subway and scenes from everyday city life. Two photographs particularly caught my attention. One is a wonderful street snapshot showing a person and a dog. The dog has clamped onto something and is suspended in midair while the person tries to wrest the piece of fabric—or whatever it may be—from its jaws. I found the image remarkably dynamic, capturing the moment with great energy.
Another photograph depicts a crowded New York subway car. Amid the packed passengers, a young woman looks directly into the camera—and therefore directly into the viewer’s eyes. There is the faintest hint of a smile on her face, and it feels as though that smile is meant for us, almost conspiratorial, as if we shared a secret. I found that image especially compelling.
The exhibition is on view in the two gatehouses of the Museum of Photography Braunschweig until **September 13, 2026**.
**P.S.** We only paid a brief visit to the museum’s summer festival in the garden. Unfortunately, the talents of the two bartenders failed to win us over. 🙂
