NEW YORK—“Romare Bearden: Insight and Innovation” at DC Moore Gallery offers a rare opportunity to view an expansive collection of works executed throughout the artist’s career, from the 1940s to the 1980s. The gallery describes the selection as the “finest examples of Bearden’s work in collage, watercolor, and oil, highlighting his mastery of multiple artistic techniques and mediums.”
The exhibition features his only known self-portrait, works inspired by his native Mecklenburg County, North Carolina, and photostats that Bearden called Projections.
In response to the civil rights movement that was unfolding during the 1960s, Bearden formed the Spiral Group, with fellow African American artists eager to explore their role in the fight for racial justice and define their place in the art world. The period marked a turning point in Bearden’s work. Inspired by the tension of black-white race relations he began creating black-and-white photomontages. The exhibition features a trio of the photostats.
DC Moore Gallery is the exclusive representative of the Romare Bearden Estate and Romare Bearden Foundation. The works are on view from March 20 to April 19, 2014. The show concludes this weekend.
All photos by Arts Observer
From left, “Moonlight,” circa 1980 (collage and oil on fiberboard) and “Mecklenberg County, Morning (Profile/Part 1: The Twenties),” 1978 (collage on fiberboard).
From left, “After Church,” 1941 (gouache on paper), also shown at top of page, and “The Visitation,” 1941 (gouache, ink, and graphite on brown paper).
“The Visitation,” 1941 (gouache, ink, and graphite on brown paper).
Installation view.
“Fishing and Crabbing, Three Mile Creek,” circa 1965 (collage and colored pencil on board).
From left, “Cotton,” 1964 (photostat mounted on fiberboard, 1/6) and “The Street,” 1964 (photostat on fiberboard, 1/6).
“The Dove,” 1964 (photostat on fiberboard, 2/6).
Installation view. Foreground, at left, “Sunrise for China Lamp,” 1986 (collage on board).
Detail of “Mecklenburg Autumn: October – Towards Paw’s Creek,” 1983 (collage and oil, ink, and graphite on fiberboard).
From left, “Mecklenburg Autumn: Morning,” 1983 (collage and acrylic on fiberboard); “Mecklenburg Autumn: October – Towards Paw’s Creek,” 1983 (collage and oil, ink, and graphite on fiberboard); and “Mecklenburg Autumn: September – Sky and Meadow,” 1983 (collage and oil on fiberboard).
“Artist with Painting and Model (Profile/Part II, The Thirties),” 1981 (collage of various papers and with fabric, foil, tape, paint and graphite on fiberboard).
The gallery describes Bearden’s above work as “both a visual autobiography and his only known self-portrait.” The image features an easel holding “The Visitation,” which is also on view in the exhibition.
Installation view.
From left, “River Mist,” 1962 (oil on linen collaged board with oil paint) and “White Mountan,” 1960 (oil on linen collaged board with oil paint).
Detail of “River Mist,” 1962 (oil on linen collaged board with oil paint).
“Big Sister,” 1968 (collage and graphite on fiberboard).