From Dentist to Icon: The Journey of Canada’s Leading Black Photography Collector
Kenneth Montague, a Canadian dentist, became an important collector of photography in North America due to a powerful image. This image, taken by James Van Der Zee in 1932, shows a couple in raccoon fur coats with their Cadillac V-16 Roadster in Harlem. At this time, America faced deep racial segregation and anti-black racism. Harlem was experiencing the Renaissance of Black culture, thriving in jazz and literature. The couple in the photo symbolizes resilience, as noted by scholar Tina M Campt, who discussed Black artists’ abilities to blend joy with their struggles.
As a child, Montague saw this photograph at the Detroit Institute of the Arts and was captivated. Years later, he bought it, marking the start of the Wedge Collection. This collection is the largest private collection of Black artists in Canada and includes around 400 photography works.
The Wedge Collection, formerly stored in Montague’s home, is now showcased at the Saatchi Gallery in London. The exhibition, “As We Rise: Photography from the Black Atlantic,” features intimate portrayals of Black subjects. The photos form a visual family album, showcasing shared experiences across time and geography.
The collection includes works from notable African photographers. One piece by Malick Sidibé, “Nuit de Noel,” captures the vibrancy of a dance party, highlighting both joyful moments and overlooked individuals. Oumar Ly’s portraits show creativity in studio setup, using everyday items as backdrops.
How does the “As We Rise: Photography from the Black Atlantic” exhibition reflect the experiences of Black communities?
Interview with Kenneth Montague: A Deep Dive into the Wedge Collection and the Power of Black Photography
Interviewer: Thank you for joining us today, Dr. Montague. Your journey as both a dentist and a significant collector of Black photography is inspiring. Can you tell us more about the pivotal moment that ignited your passion for collecting?
Kenneth Montague: Thank you for having me. The turning point for me was seeing James Van Der Zee’s photograph at the Detroit Institute of the Arts when I was a child. The image of the couple in raccoon fur coats beside their Cadillac V-16 Roadster in Harlem during the 1930s captivated me. It encapsulated resilience against the backdrop of racial segregation while celebrating the vibrancy of Harlem during the Renaissance of Black culture.
Interviewer: That’s a powerful origin story. How did that moment evolve into the establishment of the Wedge Collection?
Kenneth Montague: Years after that initial encounter, I managed to purchase that same photograph. This moment not only marked the beginning of my personal collection, but it also inspired me to delve deeper into the works of Black artists. The Wedge Collection has since expanded to around 400 pieces, making it the largest private collection of Black artists in Canada.
Interviewer: The Wedge Collection recently moved to the Saatchi Gallery in London for the exhibition “As We Rise: Photography from the Black Atlantic.” What does this exhibition represent to you?
Kenneth Montague: The exhibition represents a culmination of diverse narratives and shared experiences. It showcases intimate portrayals of Black lives across various landscapes and generations—reflecting our histories, struggles, and joys. The visuals collectively function as a family album of sorts, offering audiences a more profound understanding of the Black experience.
Interviewer: It sounds like the exhibition bridges together multiple cultures and stories. Can you share insights about some of the featured artists and their work?
Kenneth Montague: Certainly! One of the remarkable pieces is “Nuit de Noel” by Malick Sidibé, which captures the liveliness of a dance party while subtly highlighting individuals often overlooked. Oumar Ly’s portraits ingeniously use everyday items as backdrops, demonstrating how creativity can arise from simplicity. Additionally, Carrie Mae Weems contributes a self-portrait from 1975 that invites viewers to engage with her surroundings, emphasizing the intimacy of personal spaces.
Interviewer: The blend of various regions and experiences is fascinating. How do you hope audiences will respond to this exhibition?
Kenneth Montague: I hope that audiences will engage with the narratives presented in the exhibition and recognize the beauty in our shared experiences, particularly in celebrating the ordinary moments of life. The photographs document not just struggles but also joy, inviting viewers to reflect on the radical nature of these everyday experiences.
Interviewer: Lastly, what message do you believe this collection and exhibition convey about Black art and its significance today?
Kenneth Montague: Black art is a powerful tool for storytelling and reflection. It illustrates resilience, joy, and the nuanced complexities of our lives. In a time when discussions about race and identity are critical, this collection serves as a reminder of the richness of Black culture and the importance of visibility and representation.
Interviewer: Thank you, Dr. Montague, for sharing your insights and passion for Black photography. Your work and the Wedge Collection undoubtedly play a vital role in enriching the dialogue around Black art.
Kenneth Montague: Thank you for the opportunity to discuss this important topic.
Carrie Mae Weems contributes a rare self-portrait from 1975. In it, she turns away from the camera, drawing attention to her surroundings. This image emphasizes intimacy, reflecting on personal spaces and lives.
The exhibition thoughtfully blends various locations and generations. It includes works from Canada, the Caribbean, and Brazil. Afonso Pimenta’s photographs document life in a Brazilian favela during the 1980s. His image of a mother with her children radiates joy, creating a conversation with Deana Lawson’s festive photo of a family by an artificial Christmas tree. Both images reveal a desire to capture ordinary moments, proposing that these experiences are powerful and radical.