Roy DeCarava: Selected Works

Detalhes bibliográficos
Autor(a) principal: Durden, Mark
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.34632/jsta.2022.11648
Resumo: In this essay, Mark Durden reflects upon a selection of images of Roy DeCarava presented at an exhibition at David Zwirner gallery in London 13 years after his death. What is remarkable about DeCarava’s work is its multivalency, subtle and nuanced in response to the world around him, avoiding polemical or didactic stances. Aware of the documentary’s association with photographers who would picture Harlem from the outside, DeCarava declared: “I'm not a documentarian, I never have been. I think of myself as poetic, a maker of visions, dreams, and a few nightmares.”  In its poetic register, DeCarava’s images possess a symbolic resonance, with implications of segregation and separation, as playing a part in the metaphorical representation of the people captured on his images. 
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spelling Roy DeCarava: Selected WorksIn this essay, Mark Durden reflects upon a selection of images of Roy DeCarava presented at an exhibition at David Zwirner gallery in London 13 years after his death. What is remarkable about DeCarava’s work is its multivalency, subtle and nuanced in response to the world around him, avoiding polemical or didactic stances. Aware of the documentary’s association with photographers who would picture Harlem from the outside, DeCarava declared: “I'm not a documentarian, I never have been. I think of myself as poetic, a maker of visions, dreams, and a few nightmares.”  In its poetic register, DeCarava’s images possess a symbolic resonance, with implications of segregation and separation, as playing a part in the metaphorical representation of the people captured on his images. Universidade Católica Portuguesa2022-07-28info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34632/jsta.2022.11648https://doi.org/10.34632/jsta.2022.11648Journal of Science and Technology of the Arts; Vol 14 No 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 104-109Journal of Science and Technology of the Arts; v. 14 n. 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 104-1092183-00881646-979810.34632/jsta.2022.14.2reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/jsta/article/view/11648https://revistas.ucp.pt/index.php/jsta/article/view/11648/11252Copyright (c) 2022 Mark Durdenhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessDurden, Mark2023-02-17T07:15:16Zoai:ojs.revistas.ucp.pt:article/11648Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:13:22.202708Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Roy DeCarava: Selected Works
title Roy DeCarava: Selected Works
spellingShingle Roy DeCarava: Selected Works
Durden, Mark
title_short Roy DeCarava: Selected Works
title_full Roy DeCarava: Selected Works
title_fullStr Roy DeCarava: Selected Works
title_full_unstemmed Roy DeCarava: Selected Works
title_sort Roy DeCarava: Selected Works
author Durden, Mark
author_facet Durden, Mark
author_role author
dc.contributor.author.fl_str_mv Durden, Mark
description In this essay, Mark Durden reflects upon a selection of images of Roy DeCarava presented at an exhibition at David Zwirner gallery in London 13 years after his death. What is remarkable about DeCarava’s work is its multivalency, subtle and nuanced in response to the world around him, avoiding polemical or didactic stances. Aware of the documentary’s association with photographers who would picture Harlem from the outside, DeCarava declared: “I'm not a documentarian, I never have been. I think of myself as poetic, a maker of visions, dreams, and a few nightmares.”  In its poetic register, DeCarava’s images possess a symbolic resonance, with implications of segregation and separation, as playing a part in the metaphorical representation of the people captured on his images. 
publishDate 2022
dc.date.none.fl_str_mv 2022-07-28
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://doi.org/10.34632/jsta.2022.11648
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url https://doi.org/10.34632/jsta.2022.11648
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://revistas.ucp.pt/index.php/jsta/article/view/11648
https://revistas.ucp.pt/index.php/jsta/article/view/11648/11252
dc.rights.driver.fl_str_mv Copyright (c) 2022 Mark Durden
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Mark Durden
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Católica Portuguesa
publisher.none.fl_str_mv Universidade Católica Portuguesa
dc.source.none.fl_str_mv Journal of Science and Technology of the Arts; Vol 14 No 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 104-109
Journal of Science and Technology of the Arts; v. 14 n. 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 104-109
2183-0088
1646-9798
10.34632/jsta.2022.14.2
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