CHARLES “TEENIE” HARRIS, BORN 1908, PITTSBURGH, PA; DIED 1998, PITTSBURGH, PA; GROUP IN UNIFORM WITH POSSIBLY RUTH GWYNNON ON FAR RIGHT, HOMESTEAD, PITTSBURGH, PA, CA. 1945, GELATIN SILVER PRINT, 7 5/8 _ 9 9/16 IN. (19.4 _ 24.3 CM); CARNEGIE MUSEUM OF ART, PITTSBURGH, SECOND CENTURY ACQUISITION FUND AND GIFT OF MILTON AND NANCY WASHINGTON, 1996.55.7; _ CARNEGIE MUSEUM OF ART.

In a time when America seems determined to erase the Black experience from its history, a groundbreaking exhibition at the Carnegie Museum of Art is set to redefine our understanding of Black America by shedding light on rich and often overlooked narratives.

The exhibition, “Black Photojournalism,” centers on the prolific work of Charles “Teenie” Harris, the preeminent photographer for the Pittsburgh Courier, once the nation’s most widely circulated Black newspaper.

“Black Photojournalism” presents “work by nearly 60 photographers chronicling historic events and daily life in the United States from the conclusion of World War II in 1945 to the presidential campaigns of 1984, including the civil rights movements through the 1950s, ’60s, and ’70s,” as described by the Carnegie Museum of Art. The exhibition, designed by artist David Hartt, is co-organized by Dan Leers, Curator of Photography, and Charlene Foggie-Barnett, Charles “Teenie” Harris Community Archivist.

Leers and Foggie-Barnett explained that the project’s genesis lies in Harris’s extraordinary archive — and a broader desire to place his work within a larger artistic and historical continuum.

“For too long, I think we treated it as very separate,” Leers explains, “but when you look at his work, you realize there is a great deal of care and framing and attention being paid that is equivalent to any other artist.” This realization sparked a nationwide journey to discover other regional photojournalists whose stories, like that of Harris, deserved national recognition.

Foggie-Barnett was herself photographed by Harris from infancy into her twenties. That personal connection launched her journey into archiving — and granted an enhanced understanding of the photojournalist’s process, as well as his deep connection with the community.

“Many of the archives are unidentified,” she notes, emphasizing how essential community liaisons are for understanding the depth and context of the photographs.

The exhibition explores a pivotal time in the history of Black photojournalism. The end of World War II witnessed a surge in Black-owned media, with publications such as the Pittsburgh Courier, Ebony and Jet gaining significant national audiences. This era, fueled by the experiences of Black soldiers fighting abroad and returning to face racism at home, created a profound hunger for authentic Black narratives.

“This is proof of our real lives, our real situations,” Foggie-Barnett says, pushing back against sensationalized or limited portrayals of Black existence. The exhibition showcases the everyday: birthdays, weddings, sorority debutante balls and domestic scenes. In doing so, “Black Photojournalism” presents a fuller, more nuanced picture of Black life in America.

It’s a deliberate counter-narrative to stereotypes, revealing the dignity and multifaceted realities that often go unacknowledged.

Ultimately, the exhibition aims to inspire viewers to value and preserve their own life experiences. “I think one key takeaway is valuing not just the work of the photographers, but also the work of the archivists and the curators and the librarians,” Leers says. Foggie-Barnett stresses that “Black Photojournalism” also highlights the significance of thoughtful, contextualized storytelling — and the critical importance of remembering and celebrating the full spectrum of American history.

“This is who we are, and you can’t erase our history.”

“Black Photojournalism” opens Saturday at the Carnegie Museum of Art and continues through Jan. 19, 2026. An opening celebration is set for 10 a.m. Saturday.