"Portrait of Darth Vader as a Young Hipster." The great James Earl Jones early in his career. I saw him for the first time as boxer Jack Johnson in “The Great White Hope”. The man with the incredible screen voice turned to drama to help him with a speech impediment as a child.
he was so handsome
I wonder who was the Photographer, reminds me of Seydou Keita
Ataui Deng for Trump Models.
”Women must give birth, men have to be tattooed,” says one Samoan tattoo song, expressing an age-old idea of equality between the sexes. Both must endure pain. In traditional Samoan society all young males had to be tattooed when they reached their late teens. Otherwise they were not considered real men. Nowadays, the custom is no longer general, but it is still associated with manhood and male prestige, and hugely popular.
Kiara Kabukuru photographed by Lacey for Muse #34 Summer 2013.
Mother of George (dir. Andrew Dosunmu, 2013)
Great look, head to toe……….
This is very funny, he is rather ageless….
"There remains this belief that the work itself can have an identity that can speak, whether it’s through beauty, or through ugliness, or whatever quality you put into the work. The work doesn’t have to be a transparent vehicle for you to say things about life today."
Happy birthday today (May 23) to artist Martin Puryear.
Seen here is the artist working from his Accord, New York studio in 2003. This scene is featured in the Art in the Twenty-First Century Season 2 episode, Time (2003).
We featured Puryear on the Art21 Tumblr twice this past February: once in a GIF and photoset of the artist’s work, Ladder for Booker T. Washington (1996), installed at the Modern Art Museum of Fort Worth, Texas; and once with a new video from our Exclusive series showing the artist’s printmaking work with Paulson Bott Press in Berkeley, California.
IMAGES: Production stills from the Art in the Twenty-First Century Season 2 episode, Time, 2003. © Art21, Inc. 2003.
Two works from Barbara Walker’s series “Louder Than Words” (2006-09)
The artist began this series as a result of her son Solomon’s experiences with police:
Between 2002 and 2006, aged between 17 and 21, the black artist Barbara Walker’s son Solomon was so often “stopped and searched” by the Birmingham police that it came to seem disproportionately significant and she began to record the situations in her artwork. At the end of each search, Solomon was presented with a yellow A5 copy of the official police form recording the questioning. The forms, combined with newspaper cuttings of seemingly racially motivated events, sketches of city sites and meticulously drawn portraits, now become the main background focus of Walker’s graphic “Louder Than Words” collages. It is this contrast, between officialdom’s authoritative and somewhat dehumanising paperwork on the one hand, and a mother’s quite exquisitely sensitive recording of her son’s particular features on the other, that affords the series a rare poignancy.
(via The Guardian)
Sisters I-IV, 1980/94 fromMiscegenated Family Album
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