Dr. Camara Holloway is the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. Her research expertise is on twentieth century American and African American art, with special knowledge of African American photography and critical race art history.

When it comes to documenting an artist’s life’s work, few tools are more powerful, or more painstaking, than a catalogue raisonné. But for many African American artists, these essential scholarly resources have been few and far between. That’s exactly why the launch of The Romare Bearden Catalogue Raisonné Project, the first digital catalogue raisonné devoted to a 20th-century African American artist is such a landmark moment.

At the center of the project is Dr. Camara Dia Holloway, a trailblazing art historian whose research focuses on race, representation and African American art. As project manager for the Bearden catalogue raisonné at the Wildenstein Plattner Institute (WPI), she has led the multiyear effort to recover, research and publicly share the full breadth of the artist’s oeuvre.

“As the project manager, I oversee and coordinate all the research related to Bearden,” Holloway explains. “Our goal is to create a reference tool that identifies and documents Bearden’s artistic output.”

That goal is now taking shape with the launch of the catalogue’s first installment: a digital publication covering the years 1964–1969, a turning point in Bearden’s career and in the history of modern American art.

A Scholar Drawn to Bearden

Dr. Holloway’s interest in Bearden runs deep. “I became aware of Bearden at a young age,” she recalls. “My parents collected books on African American art and had a copy of M. Bunch Washington’s 1973 monograph, The Art of Romare Bearden: The Prevalence of Ritual.”

Later, as a graduate student and emerging scholar, Bearden’s work resonated with her focus on the Black subject and the politics of representation. “I am a scholar invested in the history of race and representation, and Bearden’s imaginative portrayal of the Black subject commanded my attention,” she writes. “With my interest in African American photography, I had been particularly drawn to Bearden's works known as Projections. I presented a paper on this topic at the symposium held in conjunction with the National Gallery of Art’s 2003 retrospective.”

She already had a working relationship with the Bearden Foundation as well, having helped organize their symposia in Pittsburgh at the August Wilson Center in 2009. So when the catalogue raisonné project came into view, Holloway knew immediately how vital it would be.

“African American art history is in part a recovery project for the artists who came before who are not recognized as they deserve because of historical circumstances,” she explains. “Because catalogues raisonnés have historically not existed for African American artists, scholars in the field, including myself, are often required to undertake catalogue raisonné research as a preliminary step in the development of exhibitions and monographs.”

“When I learned about this project, I immediately recognized the contribution that it stands to make.”

Why 1964–1969?

The decision to begin the project with the years 1964 to 1969 was both strategic and symbolic. As Holloway explains:

“We started with this five-year period because it was pivotal for Bearden. This is the moment when he establishes himself as a master of collage, the medium for which he is most remembered. Using this method, he developed a compelling mode of Black figuration that resonates with audiences to this day.”

It was also a moment of transition. “The mid-1960s is the point when he transitions to artmaking full time, following his long stint as a social worker, which freed him up to produce his remarkable body of work,” she adds.

That burst of creative energy—channeling jazz, literature, memory, and Black cultural life into dynamic new visual forms—makes this first phase of the catalogue a natural entry point for longtime admirers and first-time audiences alike.

The Archive as Portal

The catalogue raisonné is tightly integrated with another powerful digital resource: the Romare Bearden Papers, which Holloway has thoroughly examined alongside WPI archivist Samantha Rowe.

“Bearden’s preserved archives offer a window into his world,” Holloway explains. “We can get a sense of his life and creative circle through the photographs and audiovisual materials; what he felt was important to make note of artistically through the source materials, sketchbooks, and journals; and what documentation about his work that he thought was significant to keep.”

Those contextual materials bring the catalogue to life—not just as a database of facts, but as a living narrative of an artist’s practice. “This archival material fleshes out the basic facts about the artwork…to lend insight into Bearden’s wealth of influences, expansive worldview, and the incredible knowledge and discernment that went into the creation of his art.”

A Rare Milestone, and a Call for More

The release of the Bearden catalogue raisonné is not just a technological achievement. It’s a symbolic one.

“The WPI has broken new ground by taking on this project devoted to an African American artist,” Holloway writes. “The Bearden catalogue raisonné is amongst the first 20th century American artist projects that the WPI has taken on since its founding, which branches out from the Wildenstein Institute’s historical focus on French Impressionists.”

Why have so few catalogues been created for Black artists?

“A driving force for the production of catalogue raisonnés is the mainstream art market, an arena where African American artists have only begun to gain traction,” she explains. “Historically, the production of catalogues raisonnés has been financed by market players… the research is lengthy and time-consuming and the traditional printed book format is very expensive to print and distribute.”

Add to that the historical neglect of Black art by major institutions and archives, and it becomes clear why catalogue projects like this are still so rare—and why they matter so deeply.

“The creation of such reference tools that recover the basic information about African American artists and their output, and make it more readily available to a wide audience, can only benefit those interested in this field,” Holloway writes.

What Comes Next

The Bearden CR will continue to grow in phases, building on discoveries and community engagement. “We are excited to learn more from the general public, scholars, enthusiasts, artworld stakeholders, and especially collectors of his work,” Holloway writes.

“Bearden was very experimental and developed a command of a range of media. The documentation of this work will be revelatory about the rich complexity of his practice.”

And for Holloway, there’s still much to uncover.

“I look forward to adding future installments that will enrich what we know about Bearden and his art… I am sure that he will continue to surprise us even as we get to know him better.”

Explore and Engage:

• Stay Updated: Follow the progress of the Romare Bearden Digital Catalogue Raisonné project through the Wildenstein Plattner Institute's official announcements.​
• Dive into Bearden's World: Visit the Romare Bearden Foundation's website to explore more about his life, works, and ongoing projects dedicated to his legacy.​
• Join the Conversation: Engage with art communities and discussions surrounding Bearden's impact and the significance of catalogues raisonnés in preserving artistic heritage.​

By immersing yourself in these resources, you contribute to the vibrant continuum of appreciation and scholarship that keeps Bearden's spirit alive in the art world.