“That’s the beautiful thing about photography—it really does engage the public in a very direct way,“ Tyler Mitchell tells Observer. “There’s this immediate conversation with representation that is very interesting to me.“ Speaking by phone from New York City, Mitchell discusses “Wish This Was Real” at C/O Berlin and his oeuvre over the last ten years with a warm and down-to-earth energy. His confidence and contemplative nature come across as that of someone much older (Mitchell is just 29).
It feels like this is the summer of Tyler Mitchell. Two solo shows on both sides of the Atlantic—this one in Berlin and “Tyler Mitchell: Idyllic Space” at the High in Atlanta—along with a prominent position in “Fragile Beauty” at the V&A in London and recent acquisitions of his work by both MoMA in New York and the National Portrait Gallery in London have given him the personal and professional experiences of a photographer who could easily be decades older. At the same time, he’s remained true to his signature aesthetic of storytelling.
In “Wish This Was Real” and elsewhere, Mitchell has expanded the realm of Black representation in photography and video: hypnotic and alluring scenes with Black models while simultaneously asking the viewer to go beyond the surface of what they’re seeing. The video, Chasing Pink. Found Red demonstrates a paragon of Mitchell’s work—voiceovers of Black youth and their anguish cannot be ignored despite their stillness and grace in moving pictures. Beauty and pain exist at the same time.
This has been Mitchell’s hallmark for a decade. “In a lot of ways, I’ve made this conscious decision to double down on a lot of the initial concepts of my work… I’ve made a choice to return to the same ideas,” he explains. “The work hasn’t strayed from ever being about Black portraiture, and about Black reputation, but almost always, explored through various lenses: historical and research.“ Then he adds, “Maybe the research is changing, and the tone, the tenor and some of the environments and storytelling are sort of evolving as time goes on.“
The C/O Berlin show has three main sections: Lives/Liberties, which includes the eponymous, arresting video for which the exhibition is named (it was Mitchell’s project for an experimental film class where four young attractive black men model and use plastic
Altars/Acres is another core part of “Wish This Was Real.” Mitchell pays homage to Black artists before him who have played a part in his formation as a creative individual. This area feels religious, respectful and like a private sanctuary, giving thanks to the likes of Grace Wales Bonner, Gordon Parks, Rashid Johnson and Carrie Mae Weems.
After spending time in Mitchell’s space, it would seem impossible not to be moved by what he has created within the gallery walls.
When asked what feelings he would like visitors to leave with, Mitchell answers, “Whether people who are Black or non-Black enjoy something or get something from that, I think that brings me great joy. But I’m interested in challenging the notions and the assumptions that viewers bring, the baggage that they bring, if you will, to viewing any photographic work and sort of allowing my work to sort of challenge but also play with those notions and assumptions.“
With more decades ahead of him, he wishes to continue contributing to the art world, expanding in other directions while staying committed to his community. He has experimented with newer forms of media in the C/O Berlin show, with his own prints on draped silk, cotton and jersey presented on a wooden frame, as well as imagery on mirrored surfaces. So, what’s next for Mitchell?
“I think over the next ten years, I hope to evolve my voice as a filmmaker, as an artist who’s interested in making objects on various materials, but always being rooted in photography. And then I’m not sure where things might take me, but I also just want to continue being a shepherd of other talents—being a friend and a mentor to other people whose visions I really enjoy.“
