Michael D. Harris stands as a transformative figure in American art and scholarship, whose life’s work bridges creativity, research, and activism. Born in 1948 in Cleveland, Ohio, Harris’s early exposure to art classes at the Cleveland Museum and the Cleveland Art Institute set a precocious foundation for his artistic journey. While initially recognized for his skills as an all-city shortstop, his real passion lay in visual expression. Harris’s academic path was equally distinguished: earning a B.S. in Education from Bowling Green State University, followed by an MFA in Painting from Howard University in 1979, the year he joined the trailblazing AfriCOBRA collective. His pursuits continued at Yale University, culminating in a Ph.D. in Art History and a dissertation centered on contemporary Yoruba art, boldly positioning African artistic traditions within Western scholarship.
"Fish", vase, clubbed for 319 GBP at Crafoord Auktioner Malmö.
Creating Affirmation and Transformation through Art
Harris’s creative oeuvre spans painting, photography, and influential writing, always deeply connected to themes of identity, ritual, memory, and the Black experience. Through evocative abstraction and allusive figuration, his art channels African Diasporic spiritual and cultural motifs, reflecting both personal inquiry and collective affirmation. As a member of AfriCOBRA, Harris embodied a commitment to art as cultural power, advancing an aesthetic that celebrates Black identity. His scholarship, including the pivotal "Colored Pictures: Race and Visual Representation" and co-authored "ASHÉ: Ritual Poetics in African Diasporic Expressivity," has expanded critical conversations about race and representation, challenging and redefining visual codes within American art.
Inspiring Generations through Teaching and Legacy
Beyond his artistic practice, Harris left an indelible mark through teaching at institutions such as Emory University, Morehouse College, Spelman College, and others. His integrative approach to art history, studio work, and African American studies inspired and equipped students to interrogate and innovate at the crossroads of culture and creativity. Harris’s vast archive, now housed at the Driskell Center, ensures his influence persists, through correspondence, photographs, field notes from Nigeria, and curatorial records, attesting to five decades of visionary work. Harris remains celebrated for his rare synthesis of scholarly rigor and creative vitality, redefining the future of African American art and empowering new voices.