Rashid Johnson's "The New Negro Escapist Social and Athletic Club" series presents a deeply introspective and historically reflective body of work that probes into the complexities of black identity, self-representation, and the power of imagery. This series, particularly evident in pieces like "The New Negro Escapist Social and Athletic Club (Emmett)," showcases Johnson's engagement with the history and potential of photography as a tool for emancipation and identity construction. Inspired by the influential black figures such as Frederick Douglass, who advocated for photography as a means to reclaim agency over black narratives, Johnson's work in this series is a modern continuation of this ethos, blending historical reference with personal exploration​ (Tulane Online Exhibits)​.

Johnson's photographs in this series are not just about creating an image; they are about the dialogue with history, the reinterpretation of the roles and perceptions of African Americans through the lens of contemporary art. The incorporation of his image styled after Douglass and other culturally significant materials within the work fosters a conversation on racial identity and history, providing a platform for Johnson to both question and assert the place of black identity within the broader American historical narrative​ (Tulane Online Exhibits)​.

Moreover, Johnson's exhibition "Message to Our Folks" at the High Museum of Art expanded on these themes, integrating materials from his childhood and commonplace objects to probe the construction of identity. This exhibition included "The New Negro Escapist Social and Athletic Club (Emmett)" among other works, demonstrating Johnson's multifaceted approach to exploring identity through an array of media. The inclusion of everyday objects alongside references to significant cultural figures and theorists underscores Johnson's ability to navigate between the personal and the universal, the historical and the contemporary​ (High Museum of Art)​​ (The Source)​.

Through Art21, Johnson discusses the conceptual foundation behind his works, including "The New Negro Escapist Social and Athletic Club." He emphasizes the fluid nature of black identity in America and explores its escapist tendencies, drawing connections between historical movements and contemporary social dynamics. This dialogue enriches his works, offering a nuanced examination of the ways black identity is constructed, challenged, and reimagined through art​ (Art21)​.

Johnson's work, therefore, stands not just as a visual examination but as an ongoing conversation with the past, present, and future of black identity. It challenges viewers to consider the multifaceted nature of identity formation and the role of art in navigating and expressing these complexities.