A previous version of this story said the exhibition was at the High Museum of American Art. Though the photographs look like they were shot at night, all were taken during the day. Juxtapositions in typography echo the contrasts in the series and suggest a demarcation between two worlds. The serif typeface Bradford (by Lineto) and sans serif Whyte Inktrap (by Dinamo) are used for text. Bey says his ability to capture Black history and life has its roots in another of his artistic inspirations: John Coltrane. Before they're Black, they're people, and this is what I'm concerned about! In Two American Projects , Bey charts a new map of the past, using photography as a means to explore histories told and untold in a new light." Two Girls from a Marching Band, Harlem, N.Y., 1990, courtesy of the artist, Sean Kelly Gallery, Stephen Daiter Gallery, and Rena Bransten GalleryDawoud Bey. Untitled #20 (Farmhouse and Picket Fence I), from the series "Night Coming Tenderly, Black," 2017, San Francisco Museum of Modern Art, Accessions Committee Fund purchase The cover typography introduces the concept with Beyâs name and the book title balanced in a careful composition. (101.6 cm x 162.56). "There were no Black images of dignity, of beautiful Black people — so I tried to fill it. Bey has spent more than 40 years documenting Black Americans, from Harlem to Louisiana. Dawoud Bey’s retrospective, An American Project, is so full of people that it can’t help but feel a bit crowded.That is, it’s full of images of people, sometimes larger than life, the details of their clothing, surroundings and facial expressions shown in high relief. Bey doesn't consider his work strictly documentary in the traditional sense. Here's a tip: If you're looking at one of Dawoud Bey's images, the photographer suggests you look not at the face, but at the hands: " 'An American Project': For Decades, Dawoud Bey Has Chronicled Black Life | WEAA The book accompanies Dawoud Bey: An American Project, a major retrospective presented by SFMOMA and organized in conjunction with the Whitney Museum of American Art. In this series we are celebrating the fantastic artistic events that are right now sitting behind closed doors. He's more an interpreter, a director. The book design is quiet and subdued, allowing the work to speak for itself. Bey says Coltrane showed him early on the responsibility of being an artist, of sharing something that's larger than himself. Dawoud Bey: An American Project will be on view at Atlanta’s High Museum of Art until March 14, After that, it’s onto the Whitney Museum of American Art in New York in April. Text by Corey Keller and Elisabeth Sherman. Bey has spent more than 40 years documenting Black Americans, from Harlem to Louisiana. Juxtapositions in typography echo the contrasts in the series and suggest a demarcation between two worlds. With a powerful juxtaposition of portraiture and landscape photography, this book explores Dawoud Bey’s vivid evocations of race, history, time, and place. 'An American Project': For Decades, Dawoud Bey Has Chronicled Black Life | Georgia Public Broadcasting Bey was working on "The Birmingham Project" around the same time 17-year-old Trayvon Martin was killed by a neighborhood watch volunteer in Florida. Dawoud Bey, Don Sledge and Moses Austin, Birmingham, AL, 2012. Inside, the table of contents progresses across a full spread, almost like a timeline. The first museum retrospective of his work is now touring the country. For more than 40 years, Bey has been photographing people, places and the history of Black Americans, from Harlem to Louisiana. The design employs a three-column grid with the essay titles counterbalanced by images that are staggered salon-style within the bodies of text. Two of his most important series are featured in Dawoud Bey: Two American Projects, a new monograph published by the San Francisco Museum of Art with Yale University Press. "You know, I don't necessarily need people to think that when they look at the photograph, I just want them to believe the experience of the thing that they're looking at. The title is a riff on a line in a poem by Langston Hughes: "Night Coming Tenderly, Black." There are images of teenagers staring at the camera; lovers in the park; young people and their elders sitting in wooden church pews. Bey sees his work as a corrective. The project originally debuted at the Birmingham Museum of Art in 2013, the 50th anniversary of the bombing. Dawoud Bey In Two American Projects, Bey charts a new map of the past, using photography as a means to explore histories told and untold in a new light.”—Miss Rosen, Feature Shoot Book Description Pairing two evocative series of photographs by Dawoud Bey, this book explores his approaches to African American history through both portraiture and landscape and the critical social and … His inspiration was the late Roy DeCarava, the first black photographer to receive a Guggenheim fellowship, specifically to make images of under-documented communities. In English. Cover Image: Dawoud Bey, Taylor Falls and Deborah Hackworth, from “The Birmingham Project,” 2012.Thirteen inkjet prints mounted to dibond, 40 × 64 in (101.6 × 162.56 cm.) Dawoud Bey is a photographer and educator. Dawoud Bey (b. The exhibition includes two recent bodies of work, The Birmingham Project, a series of diptychs reflecting on the Ku Klux Klan’s 1963 bombing of the 16th Street Baptist Church, and Night Coming Tenderly, Black, powerful landscapes imagining the experience of fugitive slaves along the Underground Railroad. The subject, the underground railroad. Some were taken at Bethel Baptist Church, a center of civil rights organizing in the city. With a powerful juxtaposition of portraiture and landscape photography, this book explores Dawoud Bey s vivid evocations of race, history, time, and place Dawoud Bey (b. Bey wanted to be a musician, but he was given his late godfather's 35-millimeter camera and soon got serious about photography. "They are a part of each of our idiosyncratic, expressive vocabulary. "The photographs are very much made," he says. 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