Deborah Willis is more than a photographer, curator, and educator—she is also an excavator, uncovering a visual history of Black life. Twenty-five years ago, she wrote the groundbreaking book Reflections in Black: A History of Black Photographers, 1840 to the Present, a landmark anthology highlighting Black American photographers who transformed the medium soon after its invention. This November, a new edition of the book will be released, timed with the exhibition “Reflections in Black: A Reframing,” which is split between two public galleries at NYU, where Willis has long been a professor.
Ahead of the exhibition, I spoke with Dr. Willis about the 25th anniversary of her influential book, the show, and the central role of Black love in her work.
Vogue: How do you think the influence of Reflections in Black has evolved over time?
Dr. Deborah Willis: The 25th-anniversary edition of Reflections in Black: A Reframing came about because photographers, collectors, and others reached out to me and the publisher after the book went out of print. They mentioned seeing it priced between $500 and $900 on bookseller websites. Photographers born 25 years ago have experienced the book through their parents, grandparents, and teachers sharing its images with them. The book’s impact has helped shape a long visual culture, not only filling in missing history but also expanding the narrative of photographers creating new images about Black culture.
Vogue: This edition includes 130 new images. How did you approach the research and editing process?
Dr. Willis: First, I asked historian and professor Robin D.G. Kelly to reprint his original foreword, but he wanted to write a new one. His updated foreword reflects my experiences meeting artists, teaching, and curating. The research wasn’t difficult—I looked at the work of my own students, like Tyler Mitchell, Paul Sepuya, and Zalika Azim. I was also drawn to younger photographers like Laila Stevens, whom I met through Magnum, and was fascinated by the range of experiences and stories they tell. In a time when historical erasure is a concern, photo artists are ensuring our history remains visible. For example, Daesha Harris explores the history of the Underground Railroad and the struggles for freedom among the enslaved. In updating the book, I thought about how to connect these stories. It was also interesting to see how young photographers are shaping their image, identity, and creativity through increased visibility on Instagram.
Vogue: How else does this version expand on the original? What’s different, and what has stayed the same?
Dr. Willis: The new edition delves into self-authorship and self-portraits, and it expands on themes of spirituality. Photographers are also engaging with ecology and how climate change is affecting our communities. The political shifts over the past 25 years have influenced the content as well. These were the stories I wanted to highlight in this edition.
Vogue: The photography industry has changed dramatically in the last 25 years. What are some of the biggest changes you’ve observed?
Dr. Willis: There are many small but meaningful shifts happening: the revival of community galleries, MoMA’s annual New Photography exhibition each fall, and more inclusive representation of African diasporic photographers at art fairs. Aperture has expanded its publications over the past 25 years, thanks in part to the photographers featured in this book. There are also more opportunities for artists to exhibit their work in galleries at universities and other non-traditional spaces.Across the country, university campuses are using exhibition spaces as classrooms and learning environments for artists and communities.
Munachi Osegbu (b. 1996), Pink – Sydney (2020)
Courtesy of the artist.
How are photographers using new and existing technologies to expand the art of photography?
Artists like Bisa Butler are reimagining photographic archives by using quilting to reinterpret portraiture. The language of photography has evolved not only through new technology but also through artists exploring the medium in fresh ways. For example, my son, Hank Willis Thomas, translated a photograph into a three-dimensional sculpture with The Embrace (2022). He was inspired by an archival photo of Dr. King and Mrs. King embracing after he received the Nobel Peace Prize. Moments like these are central to expanding what photography can be.
What were some of the aesthetic and curatorial choices you made in the exhibition?
I wanted to include photographers who were excited to collaborate, who brought joy to their work, and who wanted to be part of this project. The exhibition features both historical collections and contemporary photographers. As I selected images, I focused on themes of love to highlight beauty, respect, and friendship.
Black love remains a radical act in the face of widespread bigotry and violence from white America. It has always been central to your work. How does it continue to guide you today?
When I studied photography as an art student, the diverse stories of Black families were often overlooked. What was missing from narratives about slavery and freedom was Black love.
A few years ago, I published The Black Civil War Soldier: A Visual History of Conflict and Citizenship, which I researched for years. In archives like the National Archives, the Schomburg Center, the Library of Congress, Howard University, and the WPA Slave Narrative Collection, I found oral histories of formerly enslaved people and soldiers. Black love was ignored in many history books, but it survived in these transcripts. Discovering and preserving these stories gave me a foundation for understanding Black love and shaping my own work.
How do you think about continuing your legacy and the work you set out to do when you began your career?
I believe in collaboration. I don’t work alone, and that’s important to me. I focus on building networks, having global conversations about Black life, and co-creating events like the Black Portraiture[s] conferences. The first was in Paris in 2013, where I worked with Manthia Diawara and Awam Amkpa. Some locals initially criticized us for organizing the conference as Americans in Paris, but by the second day, many thanked us for creating a space to discuss race, fashion, and history. We had a similar experience in Johannesburg, South Africa, where people felt they lacked platforms for these conversations. This year, we’re bringing Black Portraiture[s] to Tulsa, Oklahoma. In 2024, we held the conference in Venice, Italy, titled “Shifting Paradigms.” The goal is to foster broader discussions about Black and African diasporic photographers and connect them with photographers in the U.S. That’s a key focus for me.
This conversation has been edited and condensed.
“Reflections in Black — A Reframing” is on view through December 21, 2025.
Reflections in Black: A History of Black Photographers: 1840 to the Present
$100, W.W. Norton
Frequently Asked Questions
Of course Here is a list of FAQs about Deborah Willis and the 25th anniversary of her seminal work Reflections in Black
General Beginner Questions
Q Who is Deborah Willis
A Deborah Willis is a highly influential American artist photographer curator author and educator She is a leading historian and scholar of African American photography and its cultural history
Q What is the book Reflections in Black about
A Its a groundbreaking book that traces the history of Black photographers from the invention of photography to the late 20th century It showcases their work and tells the story of how Black Americans have used the camera to represent themselves
Q Why is the 25th anniversary of this book such a big deal
A The anniversary is a major milestone because the book fundamentally changed the art world It brought longoverdue recognition to generations of Black photographers who had been overlooked by mainstream art history making their work accessible to a much wider audience
Q Where can I see the photographs featured in the book
A Many of the photographs are held in major museum collections You can also find them in the book itself and often in related exhibitions that museums curate to celebrate anniversaries like this one
Deeper Advanced Questions
Q What was the art world like for Black photographers before this book was published
A Their contributions were largely marginalized excluded from major textbooks museum collections and historical narratives Reflections in Black provided the first comprehensive visual history that centered their voices and artistry
Q How did this book impact the field of photography and art history
A It became an essential academic text forcing a reevaluation of American photography It inspired new scholarship influenced curatorial practices in museums and encouraged the acquisition of works by Black photographers into permanent collections worldwide
Q Can you name a few key photographers the book helped bring to prominence
A Absolutely While it features over 100 photographers it was crucial for highlighting the work of pioneers like James VanDerZee Carrie Mae Weems Lorna Simpson Gordon Parks Roy DeCarava and Coreen Simpson among many others
Q Has Deborah Willis done other important work beyond this book