#roydecarava

[harvardfineartslib]

#BlackResistance

The Association for the Study of African American Life and History (ASALH) summarizes this year’s theme “Black Resistance” as follows: "African Americans have resisted historic and ongoing oppression, in all forms... These efforts have been to advocate for a dignified self-determined life in a just democratic society in the United States and beyond the United States political jurisdiction… This is a call to everyone, inside and outside the academy, to study the history of Black Americans’ responses to establish safe spaces, where Black life can be sustained, fortified, and respected. "

By resisting, Black people have achieved triumphs, successes, and progress. Black artists, along with other creatives, employ various media to tell stories and create change.

Here is another stack of books that celebrate Black artists whose work resists the status quo, challenges the system, and calls for awareness of the myriad of issues affecting Black people’s lives.

Barkley L. Hendricks : works on paper. HOLLIS: 99155235696303941

Barkley L. Hendricks : basketball. HOLLIS: 99155776869903941

Howardena Pindell : paintings, 1974-1980. HOLLIS: 990145322360203941

Kerry James Marshall : history of painting. HOLLIS: 99153829093703941

Emma Amos : color odyssey. HOLLIS: 99155279216703941

Jack Whitten : five decades of painting HOLLIS: 990145227350203941

Black artists in America : from the Great Depression to civil rights. HOLLIS: 99155993050103941

Roy DeCarava, a retrospective. HOLLIS: 990067852100203941

Gordon Parks : the Flávio story HOLLIS: 99153691397803941

Gordon Parks : the new tide, early work, 1940-1950. HOLLIS: 99153723466203941

[listening2images]

👁 #RoyDecarava @decarava #ListeningToImages #Listening2Images #ShadowPlay https://www.instagram.com/p/CoT-uhcIE2l/?igshid=NGJjMDIxMWI=

[moma-prints]

Palma, Roy DeCarava, 1947, MoMA: Drawings and Prints

Gift of Anne Kurakin Size: composition: 10 13/16 x 9 1/2" (27.4 x 24.1 cm); sheet: 14 5/8 x 10 11/16" (37.2 x 27.1 cm) Medium: Screenprint

http://www.moma.org/collection/works/105737

[billhodgesgallery]

Roy DeCarava (1919 - 2009) Untitled (Man with Portfolio), 1950s Gelatin Silver Print 14 x 11 in. ~ We are proud to exhibit this elegant photograph by Roy DeCarava in our current show “Selections from the Hamptons Virtual Art Fair 2020”. “Untitled (Man with Portfolio)”, ca. 1950s was taken only about a decade after DeCarava began photographing. This work is a perfect example of the refined simplicity of DeCarava’s style. Oblivious of his observer, as most of DeCarava’s characters are, an older man leans against a pole with a National Alliance of Businessmen portfolio that declares “hire, train, retain”. His sharp attire, completed with a feathered top hat, inclines us to believe that this man is in search of a job or is a manager that benefits from the government program – a testament to the Black job market in New York in the 1950’s. He is balanced on his right arm that is hidden behind his back and his fingers clasp a sheet of paper. This moment of isolated self-reflection, something so discreet, fleeting and rare in New York City, is so delicately and surreptitiously captured by DeCarava. ~ #billhodgesgallery #gallery #nycgallery #artgallery #africanamericanartist #supportminorityartists #supportthearts #artworld #billhodges #billhodgesgallery #africanamerican #africanamericanart #blackartist #blackartists #africanamericanartists #blackexcellence #americanmaster #masterartist #roydecarava #decarava #manwithportfolio #gelatinsilverprint https://www.instagram.com/p/CGDRNyjlZ9C/?igshid=18iclx85uzs9k

[stephensheffield]

Today I would like to feature the work of Roy DeCarava. Born in New York City's Harlem neighborhood in 1919, Roy DeCarava came of age during the Harlem Renaissance, when artistic activity and achievement among African Americans flourished across the literary, musical, dramatic, and visual arts. DeCarava did not take up photography until the late 1940s, after working in painting and making prints for the posters division of the Works Progress Administration (WPA). He used his camera to produce striking studies of everyday black life in Harlem, capturing the varied textures of the neighborhood and the creative efflorescence of the Harlem Renaissance. Resisting explicit politicization, DeCarava used photography to counter what he described as “black people...not being portrayed in a serious and artistic way.” . DeCarava’s Harlem photography of the late 1940s and early 1950s garnered the attention of Edward Steichen, who was then director of MoMA’s Department of Photography. At Steichen’s urging, DeCarava applied for and won a prestigious Guggenheim fellowship in 1952, becoming the first African American photographer to receive this honor. The fellowship enabled him to spend a year shooting hundreds of photographs documenting Harlem life. Steichen included several of DeCarava’s photographs in MoMA’s landmark 1955 exhibition The Family of Man. That same year, DeCarava collaborated with poet, writer, and social activist Langston Hughes to produce The Sweet Flypaper of Life, a book featuring 140 of his photographs accompanied by a narrative written by Hughes. . #roydecarava #roydecaravaphotographer #blackphotographer #blackartist #blackartists #blackartmatters #blacklivesmatter (at Cohasset, Massachusetts) https://www.instagram.com/p/CBdNYlCArAJ/?igshid=1x4d12aan17fe

[the-grey-curtain]

Dancers, Roy DeCarava (1956)

[flyhummingbirdkingfly]

A strong spririt transcends rules - Prince. WWW.ALLENTHEARCHITECT.COM #model #photographer #producer #singer #songwriter #director #entrepreneur #businessman #designer #mensfashion #blackmen #blackhollywood #blackentrepreneur #tysonbeckford #roydecarava #quincyjones #spikelee (at Los Angeles, California)

[larasobieski]

Spring is here

There are moments when you fall in love and you never remember how it started or where or even if the start was way back behind you, in a different time, maybe several years ago.

What you do remember is your heartbeat, going a hundred miles per second, through his jacket, through his hoodie, echoing in his chest.

What we do remember is a feeling, a very precise feeling, that comes along ever so often and dealing with it is something that you don’t want to prolong so much in your memory, because you might kill it off. Regardless of the constant replay of your feeling, whether you’re on a bus, or you’re just driving, you keep it for yourself and maybe that’s the time when we are the greediest. There is not so much that you can talk about out loud, because spoiling it means that you’ve showed both yourself and the feeling to somebody who might not relate. And that includes everyone on earth, except for you two. This feeling is for keepers only, keepers of the intricate souls that fumble in this specific area of journey. There is a very high-class risk to go around telling everybody about your happiness. Maintaining the secret of what it is you feel is what keeps both of you steady and grounded and serious about it. It’s yours and it shouldn’t be judged, nor pondered upon, nor translated by the mind. It is simply there, as a flutter, as a whole song replayed the millionth time, for those two lyrics in the beginning. Feeling this may cause great beauty, great love, great friendship. As you walk on the street and the traffic noises reduce to everything you appreciate about the city, your feeling becomes your pal, your sleeping partner when he’s not around, your own voice answering back when you’re alone.

Making this feeling part of your daily interior soundtrack is what brings us closer to summer.