Socialism and cha-cha-cha: Agnès Varda’s photos of Cuba forgotten for 50 years
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Socialism and cha-cha-cha: Agnès Varda’s photos of Cuba forgotten for 50 years
Black Artists and Activism: Harlem on My Mind, 1969 by Bridget R. Cooks
Full Text: PDF Abstract: At the end of the Civil Rights Movement, the Metropolitan Museum of Art organized Harlem on My Mind: Cultural Capital of Black America, 1900–1968, an exhibition that sought to explore the history and value of the predominantly Black community of Harlem, New York. In organizing one of the most controversial exhibitions in United States history, the Metropolitan decided to exclude Harlemites from participating in the exhibition planning and to exclude artwork by Harlem’s thriving artist community from the exhibition. The museum justified this decision by arguing the Harlem itself was a work of art and the inclusion of artworks in Harlem on My Mind would only detract from the overall exhibition. Public unrest led to boycotts of the exhibition before it even opened. This article details the struggles of Harlem-based artists to confront and challenge the unethical machinations of the institutional epicenter of the postwar international art world. This discussion addresses the critical appropriations of the event forged by black visual artists, photographers, and visitors who brought a competing set of political and emotional investments in the documentary works on display. It also demonstrates that the surge of Black activism spurred by the Harlem on My Mind controversy eventually pushed mainstream art institutions to feature black art exhibitions and launch community-based initiatives in support of black talents. The response of Black visual artists to the exhibition was an important part of the nascent Black Arts Movement’s development of an institutional infrastructure necessary to nourish Black art production and exhibition, and to redefine the political and aesthetic dynamics of the moment.
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Shadows of Dogs Reveal their Primal Nature
Photographer Thomas Roma spent three years in a dog park in New York City in order to catch their shadows. The aim of his collection is to show us that through their shadows their primal and wild aspect nature is reflecting.
Nuns by Saul Leiter, 1949.
self portrait, 1946 Andreas Feininger
A woman in a see-through raincoat in 1938 at Hill and Eighth Street. (Photo courtesy of the Los Angeles Public Library)
Thomas Roma
Josef Koudelka, Ireland, 1976
“Ville Savoye” by Le Corbusier
Self Reflection, Los Angeles, California, April 2015.
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Francesc Català Roca
Madrid, 1950’s
Bruce Davidson, Man & Woman Reflected in Car Window, London, 1960
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