Seattle Art Museum Honors Titus Kaphar

by Ramon Shiloh

Titus Kaphar, a young artist reshaping traditional art, brings an unpredictable twist to familiar subject matter. Recently honored as the inaugural recipient of the Seattle Art Museum’s Gwendolyn Knight and Jacob Lawrence Fellowship, Kaphar was awarded $10,000 and the opportunity to be the first solo exhibitor in the museum’s newly created gallery. His contemporary artwork was showcased from April 3 through September 6, 2009.

This bi-annual fellowship is awarded to a Black artist who has been working for less than a decade, supporting their development and artistic journey. Sandra Jackson-Dumont, SAM’s Adjunct Curator of Modern and Contemporary Art, expressed her pride in Kaphar’s achievement. "What’s powerful about Titus is that he’s both smart and a great artist. We’re proud to help him realize his vision by providing resources and opportunities to further his craft."

When asked about receiving the fellowship, Kaphar laughed. "I was shocked when I got the call. Sandra told me the news, and I didn’t believe her at first. I hadn’t applied for it. I didn’t even know it existed! That makes it all the more meaningful, knowing someone saw value in my work."

Creating a New Historical Perspective

Kaphar’s work offers a bold reimagining of history. Through his paintings, he provides alternate narratives to stories traditionally depicted in European and American art from the 18th and 19th centuries. He describes his art as "the first sentence in a longer story that the viewer completes." By cutting and rearranging elements of these historical portraits, he shifts their original meaning.

One such piece, Conversation Between Paintings, juxtaposes a White soldier being admired by a Black child with a Black soldier standing alone. Kaphar explains that, historically, he had never seen a painting that placed a Black child alongside a Black soldier in this manner. By removing the child from the original context, Kaphar alters the relationship between the two figures, suggesting mentorship and counsel rather than the traditional master-servant dynamic. "Even though the painting is from the past, it still speaks to the social issues we face today," Kaphar adds.

His works explore how historical content can mask contemporary themes, encouraging viewers to reassess familiar narratives. "I’m taking those iconic paintings, reevaluating them, and presenting a new perspective."

An Accidental Path to Artistic Success

Born in Kalamazoo, Michigan, in 1976, Kaphar admits he was a struggling student. "My GPA in high school literally started with a decimal point. I failed most of my classes," he recalls. It wasn’t until the end of his junior year that he realized he needed to turn things around, which he did through a combination of rigorous morning and evening classes.

After high school, Kaphar spent time playing music in Northern California’s Bay Area, opening for bands like Incubus and Papa Roach. But a pivotal conversation with his future wife about his academic future made him reconsider his path. Reluctantly, he enrolled at DeAnza College in Cupertino, California. Nervous about returning to academics, Kaphar decided to take an art history class. That decision changed his life.

"I had always dabbled in art, but this class hooked me," he says. "For the first time, I earned a B, and it gave me the confidence to pursue more art and history courses." After earning enough credits, Kaphar transferred to San Jose State University, where he rigorously developed his painting technique. He went on to earn a Bachelor of Fine Arts in painting and a minor in African American Studies.

Kaphar’s academic confidence soared, and in 2006, he earned a Master of Fine Arts in painting from Yale University. The following year, he became an artist-in-residence at the Studio Museum in Harlem. His versatility as an artist has earned him rave reviews and exhibitions at institutions such as the Yale University Art Gallery, the Savannah College of Art and Design, and the San Jose State University Gallery. After receiving the Lawrence Fellowship, Kaphar was also invited to exhibit at Cuba’s Havana Biennial.

Reflecting on the fellowship, Kaphar says, "I never imagined I’d be in the same conversation as Jacob Lawrence and Gwendolyn Knight. Lawrence was one of the first artists I studied. He was painting people who looked like me, people from the Harlem Renaissance. To have my work connected to that legacy is incredible."

For Kaphar, there was never a question about continuing his art. "This is what I love doing, and it has never felt more right."