Black Artists Who Have Illustrated The New Yorker: A Celebration of Vision and Voice
The New Yorker has always been a canvas for cultural commentary, with its covers offering snapshots of the times we live in. Over the years, a number of Black artists have taken on the prestigious task of illustrating these covers, bringing their unique perspectives to the forefront. These aren’t just images—they’re stories, capturing moments that resonate deeply and leaving a lasting impact. Let’s take a closer look at the Black artists who have made their mark on The New Yorker with covers that speak volumes.
E. Simms Campbell: Paving the Way for Black Artists in The New Yorker
E. Simms Campbell made history on February 3, 1934, as the first Black artist to design a cover for The New Yorker. His iconic illustration depicted a nighttime Central Park ice skating scene, showcasing his unique ability to capture the essence of social life with charm and sophistication. The cover reflects Campbell’s vibrant style, which was heavily influenced by the Harlem Renaissance, an era he contributed to significantly.
Campbell wasn’t just a pioneering artist—he was also a talented storyteller through his illustrations. His most famous piece outside of The New Yorker is the “Nightclub Map of Harlem,” an exuberant, detailed cartoon that celebrated the cultural vibrancy of Harlem during its golden age. His work often focused on nightlife, jazz culture, and the joyous side of urban life, making him one of the most sought-after illustrators of his time.
One fascinating aspect of Campbell’s career is that he was one of the first Black cartoonists to achieve mainstream success, regularly contributing to magazines like Esquire and Life (click on the link to see his impressive contributions). His ability to break into these predominantly white spaces and leave a lasting impact speaks to both his immense talent and resilience. Campbell’s cover for The New Yorker not only marked a pivotal moment in his career but also paved the way for future Black artists in the world of mainstream publishing.
Campbell’s work continues to be admired for its wit, vibrancy, and cultural significance, making him an essential figure in both art history and Black cultural heritage.
Charles Alston: Bringing Everyday Dreams to Life on The New Yorker’s Stage
Charles Alston was a key figure in the Harlem Renaissance, an artist who used his talents to elevate the everyday experiences of Black Americans. Alston’s cover features a janitor standing on a grand stage, broom in hand, pretending to conduct an empty orchestra. This scene, filled with both whimsy and depth, captures a moment of pure imagination as the janitor envisions himself leading a symphony, surrounded by the empty chairs of an unseen audience.
Alston’s work on this cover subtly comments on the unrecognized aspirations of everyday people, reflecting the universal desire for self-expression and the pursuit of dreams, even in the most unlikely of places. His ability to infuse this moment with such richness and humanity remains a powerful symbol of the depth of human ambition, transcending the limitations imposed by one’s circumstances.
Kara Walker: Honoring Toni Morrison with “Quiet as It’s Kept”
Kara Walker is an artist known for her provocative and deeply impactful work, often using silhouettes to explore themes of race, gender, and history. In 2019, she brought her distinctive style to The New Yorker with the cover “Quiet as It’s Kept,” a tribute to the late Toni Morrison. Walker’s cover, featuring a powerful silhouette of Morrison, is a nod to the literary giant’s profound impact on American literature and culture.
Walker’s ability to distill such a complex figure into a single, striking image speaks to her skill in capturing the essence of her subjects. “Quiet as It’s Kept” isn’t just a cover—it’s a visual eulogy, an homage that encapsulates Morrison’s enduring legacy in a way that words alone cannot.
Kadir Nelson: Telling Stories Through Powerful Imagery
Kadir Nelson is an artist whose work is known for its narrative depth and emotional resonance. His 2020 cover for The New Yorker, titled “Say Their Names,” became one of the most iconic images of the year, capturing the grief and call for justice following the death of George Floyd. The cover features a detailed portrait of Floyd, surrounded by the faces of other Black men, women, and children whose lives were lost to racial violence.
Nelson’s ability to convey such profound emotion and historical significance in a single image makes his work stand out. His art often serves as a powerful reminder of the ongoing fight for racial justice, with “Say Their Names” not just being a cover, but a call to remember and to act.
The cover featured above is probably what Nelson is best known for, however his cover below (which was 1 of 9 covers designed for the New Yorker’s 90th anniversary) is a great send up of the magazine’s 1925 original cover art. I think it’s quite brilliant!
Faith Ringgold: “Sonny’s Bridge” – A Tribute to Jazz and Harlem
Faith Ringgold is a pioneering artist and author, best known for her narrative quilts that weave together personal and political themes. The May 6, 2024 cover “Sonny’s Bridge,” – a tribute to jazz legend Sonny Rollins and Harlem’s cultural legacy, was The New Yorker’s tribute to Ringgold after her death in April. The cover depicts Rollins playing his saxophone on the Williamsburg Bridge, where he famously practiced in the late 1950s.
Ringgold’s dynamic use of color and composition brings the scene to life, making the viewer feel as if they can almost hear the music. This cover isn’t just a tribute to Rollins; it’s a celebration of the enduring influence of Harlem and jazz on American culture. Ringgold’s work often centers on the power of community and the importance of cultural history, and “Sonny’s Bridge” is a beautiful reflection of these themes.
Loveis Wise: “Nurture” – Celebrating Connection and Care
Loveis Wise is a young, dynamic illustrator whose work radiates joy and positivity. At just 23, Wise made waves with their 2018 New Yorker cover, “Nurture,” becoming one of the youngest artists to ever illustrate for the magazine. The cover, featuring Black women tending to a garden and each other, is a joyful celebration of community and care.
Wise’s bright, bold colors and slightly surreal style create a sense of warmth and connection, reminding us of the beauty in nurturing both our environments and each other. Their work often explores themes of identity, community, and the joy found in everyday life, making “Nurture” a perfect encapsulation of these ideas.
Diana Ejaita: The Art of Blending Cultures with “Cultivated”
Diana Ejaita is an artist whose work beautifully blends African and European influences, reflecting her Nigerian-Italian heritage. In 2019, she illustrated the cover of The New Yorker with “Cultivated,” a piece that perfectly captures her minimalist yet deeply symbolic style. The cover features a Black woman whose hair transforms into a landscape, symbolizing the deep connection between land and identity.
Ejaita’s use of color blocking and minimalist shapes evokes the cutouts of Matisse, adding a layer of artistic depth to her work. “Cultivated” is more than just a cover—it’s a visual narrative that resonates on multiple levels, celebrating heritage and growth while reflecting Ejaita’s unique cultural perspective.
Elizabeth Colomba: “157 Years of Juneteenth” – A Powerful Reflection on History
Elizabeth Colomba is an artist known for her classical painting style, often exploring historical themes and the representation of Black figures in art. In 2022, Colomba brought her refined approach to The New Yorker with the cover “157 Years of Juneteenth,” commemorating the anniversary of this pivotal moment in American history.
Colomba’s work often centers on reclaiming and highlighting the presence of Black figures in historical contexts where they have been overlooked or erased. With “157 Years of Juneteenth,” she continues this mission, providing a powerful visual narrative that connects history with contemporary relevance, making it a significant addition to The New Yorker’s legacy.
Grace Lynne Haynes: “Trendsetters” – A Celebration of Black Womanhood
Grace Lynne Haynes is an artist whose vibrant use of color and form brings a fresh perspective to traditional portraiture. In 2020, she illustrated the cover of The New Yorker for its annual fashion issue with a piece titled “Trendsetters.” The cover features a powerful portrait of a Black woman adorned in vibrant, colorful garments that exude both confidence and style.
Haynes’ work often explores the complexities of identity and representation, and “Trendsetters” is no exception. By combining bold patterns with minimalist forms, she challenges conventional notions of beauty and fashion, offering a fresh and empowering perspective on how these elements intersect with Black culture.
Reyna Noriega: “House Style” – Embracing Everyday Beauty
Reyna Noriega is an artist whose work is known for its vibrant colors and uplifting themes. In 2021, she brought her warm, inviting style to The New Yorker with the cover “House Style.” This cover features a serene scene of a Black woman standing in a beautifully styled room, surrounded by lush plants and bathed in warm light.
Noriega’s art often highlights the importance of self-care and the joy found in daily routines. “House Style” is a celebration of how our spaces reflect who we are—how the simple act of creating a home can be an expression of self. With this cover, Noriega reminds us that the spaces we create for ourselves are not just backgrounds—they’re a vital part of how we live and express who we are.
The Future of Representation in Art
As we look ahead, the future of Black representation in prestigious art platforms like The New Yorker seems both promising and essential. The contributions of artists like Charles Alston, Kara Walker, Kadir Nelson, and others have paved the way for a more inclusive and diverse artistic landscape, but there is still much work to be done.
In a world where media and art continue to shape our perceptions of culture and identity, it is crucial that platforms like The New Yorker continue to amplify the voices of Black artists. Their unique perspectives not only enrich the cultural narrative but also challenge us to see the world through different lenses, fostering empathy and understanding in a time when these qualities are more important than ever.
Supporting and providing visibility for Black artists in mainstream media isn’t just about representation; it’s about ensuring that the stories and experiences of Black communities are told by those who live them. As these artists continue to push boundaries and explore new themes, they remind us that art is a powerful tool for change, capable of inspiring dialogue, reflection, and action.
The future of art will undoubtedly be shaped by these voices, and as audiences, it’s our responsibility to champion diversity in all its forms. By doing so, we not only celebrate the richness of Black culture but also ensure that the art world remains a vibrant and inclusive space for all.
Conclusion
These Black artists have used their talents to create New Yorker covers that do more than just decorate—they tell stories, spark conversations, and reflect the diverse experiences that shape our world. Each cover is a testament to the power of representation in art and the impact that these voices have on our cultural narrative. Through their work, these artists have left an indelible mark on The New Yorker and continue to inspire us all.
