Presence of Color: Jeremy Okai Davis

Curated by Dr. Tamara Holmes Brothers

Presence of Color explores racial biases ingrained in photographic technology and broadens the conversation by questioning the politics of seeing. Through a critical reimagining of Kodak's mid-20th-century "Shirley" cards, reinterpretations of Black portraiture, and the inclusion of archival images from Jet and Hue magazines, Davis challenges the historical dominance of whiteness in visual culture.

Kodak's original "Shirley" card was used to balance color in film, centering the white woman as the “normal” in lighting and shadow exposure, and embedding whiteness into the technical framework of photograph printing. The result was not merely aesthetic imbalance; it institutionalized racial hierarchy within visual systems, often rendering darker skin tones underexposed or flattened.

By creating "Black Shirley cards," Davis performs both critique and reclamation. He positions Black skin tones as the standard of calibration, symbolically and materially re-centering Blackness within the framework of visual and cultural worth. In his work, calibration becomes a metaphor for social significance—an invitation to reset the scale by which visibility and importance are measured.

Presence of Color is a meditation on visibility and value. Through technological critique, cultural reclamation, and the elevation of Black portraiture, Jeremy Okai Davis transforms the camera from an instrument of exclusion into a tool of affirmation.

Generous support for this exhibition is provided by Kerri Hoffman and Jonathan Singer.

Jeremy Okai Davis (b. Charlotte, NC) received a BFA in painting from the University of North Carolina at Charlotte. He relocated to Portland, OR, in 2007, where he continues his studio practice alongside work as a graphic designer and illustrator. His work has been shown nationally at the Studio Museum of Harlem (New York, NY), the Jordan Schnitzer Museum of Art (Portland, OR), Wa Na Wari (Seattle, WA), and the Rotating Art Program at Portland International Airport (Portland, OR). His work is included in the permanent collections of the Lonnie B. Harris Black Cultural Center at Oregon State University and the Portland Art Museum. He is represented by Elizabeth Leach Gallery.

Photo courtesy of Ryan Warner.

Dr. Tamara Holmes Brothers is the Director of Program Outreach & Engagement for the North Carolina Department of Natural & Cultural Resources. She oversees program development and strategic engagement for the state’s historic sites, museums, parks, arts, and environmental resources, advancing inclusive public access to North Carolina’s cultural assets. A respected cultural leader, Dr. Brothers has curated exhibitions highlighting African American art and artists of the African diaspora.

Her career spans executive roles in fine arts, philanthropy, and higher education, including positions at Duke University’s Nasher Museum of Art and Fayetteville State University. Throughout her work, she has cultivated platforms for artists of color and helped shape programming that bridges scholarship, community engagement, and cultural preservation.

A dedicated community advocate, she has served on numerous boards and councils, including the North Carolina African American Heritage Commission and several Governor-appointed advisory councils.

Dr. Brothers is a native of Fayetteville, NC, and holds a B.A. in Art from Hampton University, an M.S. in Sport Management from West Virginia University, and a Ph.D. in Educational Management from Hampton University, along with multiple certifications in grief support, historic preservation, curating, and nonprofit management.

Photo courtesy of Mat Waehner/Matt Zeher.

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