The Artistic Journey of L. Kasimu Harris: A Voice for Black Culture

In 2025, the Museum of Modern Art (MoMA) made a significant institutional move by acquiring photographs from New Orleans-based artist L. Kasimu Harris. This event was momentous not just for Harris but also for the broader narrative of American photography. Historically, work rooted in Black communities of the American South has been overlooked by major museums, which makes Harris’s inclusion in MoMA’s collection reflect a vital and overdue shift in the art world’s perspective.

Journalism, Katrina, and Ethics

Harris was pursuing graduate studies in writing and journalism at the University of Mississippi when Hurricane Katrina devastated his hometown in 2005. His role as a writer for the Daily Mississippian would soon take on new meaning as he found himself compelled to return home just 45 days after the disaster. With encouragement from an Ole Miss professor, he embarked on a journey that redefined his artistic and journalistic focus.

“What caught my eye during that break became my lens for storytelling,” Harris remembers. He developed an acute awareness of the gentrification that was reshaping New Orleans, particularly concerning Black bars that were pivotal social spaces within the community. Initially aiming for a balanced depiction by including perspectives from both White and Black bar owners, Harris faced challenges when none of the White bar owners agreed to participate. He pivoted and centered his project on Black bars.

“Seeing it as investigative journalism was illuminating for me,” Harris said, reflecting on the disparity of media attention during the post-Katrina period. “When I create art, I can explore the truth through various lenses.”

Preserving What Disappears

Harris’s photography series, Vanishing Black Bars and Lounges, transcends its immediate subject matter. While sparked by the closing of these bars in New Orleans, Harris envisions it as a larger commentary on community and identity. “I always felt this work resonated beyond just New Orleans,” he stated. His journey led him to capture the essence of Black bars in cities like Pittsburgh, Clarksdale, Mississippi, Chicago, Detroit, Los Angeles, and even South Africa.

Harris notes a discernible difference in the character of Black bars compared to White bars, often evidenced by what they serve. “You can tell a Black bar by what they drink; pints are a staple, a community ritual,” he said, detailing a cultural nuance that enhances his narrative.

Deeper than It Seems

Harris’s wife, Ariel Wilson-Harris, perceives deep significance in her husband’s layered approach. “When we think about a bar, we don’t always consider the complexities tied to culture and history,” she explained. This expanded perspective connects local narratives to global themes, underscoring the importance of Harris’s work to the African diaspora.

Brian Piper, Freeman Family Curator of Photographs, Prints, and Drawings at the New Orleans Museum of Art, expressed admiration for Harris’s photography, highlighting its blend of documentary and storytelling elements. “In his Vanishing Black Bar series, he captures both the vibrancy of these spaces and the threats they face from gentrification,” Piper said, emphasizing Harris’s role as a cultural historian and advocate for African-American identity.

Learning the System Without Becoming It

Harris’s service on the board of the Ogden Museum of Southern Art has offered him a unique lens into the mechanics of artistic institutions. “Understanding the operational side of museums has been enlightening,” he remarked, recognizing the tension between financial realities and the mission of accessibility. This knowledge empowers him to navigate his artistic career effectively, allowing him to engage with institutions like MoMA more strategically.

“When they expressed interest, I understood what that meant in terms of intent,” Harris elaborated on the nuances of his interactions with such prestigious institutions.

Roots and Responsibility

Harris’ artistic vision is heavily influenced by his upbringing in New Orleans, particularly the values instilled by his mother, Eartha Harris. Despite passing away in 2015, her tenacity and dedication to culture resonate in his work. “She fought for our family and community,” he recalls, revealing the profound personal history that informs his artistic endeavors.

Work Before Recognition

Ben Hickey, former curator at The Hilliard Museum and current executive director of the Center for Exploratory and Perceptual Arts, speaks to Harris’s work as a reflection of cultural advocacy and communal love. “Every pixel in his photographs radiates this passion,” Hickey said, explaining how Harris’s art serves not only as documentation but also as a celebration of community.

Whether exploring academic institutions or venturing into the depths of Black bars, Harris remains grounded in purpose and intention. His artistry is built upon an intricate understanding of cultural significance and the responsibility that comes with it. Each photograph acts as a testament to his commitment to preserving narratives that are often overlooked, allowing them to resonate in ways that extend far beyond the frame.