The Street, 1964. Photostat on fiberboard, 31 x 40 in.
"On October 6, 1964, at the height of the American civil rights movement, fifty-three-year-old Romare Bearden, a mature artist with a moderately successful career as a painter behind him, debuted nearly two dozen billboard-size, black-and-white, photographic enlargements of collages—
Projections, he called them. Instead of the large abstract work he had been painting up to then, he filled his canvases with the faces of black people. Their expressions, unflinching and intense, dominated crowded city streets, southern cotton fields, and ecstatic rituals.
... A surge of civil rights activism swept the country, compelling an urgent need for change. Figures in Bearden’s
Projections embody that urgency, confronting their viewers like characters in a play caught in mid-action. At first glance the figures in
Projections look ordinary, as if the artist were merely reporting a news event, except faces are fractured and dislocated, their hands swollen to twice their normal size, bodies pieced together from startling juxtapositions, including, as one commentator notes, 'parts of African masks, animal eyes, marbles, corn and mossy vegetation.' ..."
The Paris Review
Romare Bearden in his Long Island City studio with the photograph of his great-grandparents Henry and Rosa Kennedy on their porch around 1920 in Charlotte, North Carolina.
2017 November: Soul of a Nation: Art in the Age of Black Power
