Collection Artwork
2017 40 5 pr w02
2017 40 5 pr w01
2017 40 5 pr w02
2017 40 5 pr w01
Dawoud Bey (born New York, New York, 1953)
Deas McNeil, the Barber [from Harlem, U.S.A.]
1976, printed 2017
gelatin silver print
8 1/8 x 11 7/8 in.
10 7/8 x 13 7/8 in.
16 x 20 in.
16 5/8 x 20 5/8 x 1 1/2 in.
The Jack Shear Collection of Photography at the Tang Teaching Museum
Harlem, New York, New York, United States, North America
Inscribed by artist in pencil, verso, lower left: 4/10
Signed and dated in pencil, verso, lower right: Dawoud Bey 1976/2017
Inscribed in pencil, verso, lower right, along edge: 663.662.3.17

Installation views

2017 40 5 pr i01

Object Label

If I can make work that begins to transcend difference while locating a common humanity that we all share, a radical reshaping of the world is possible, one person at a time.
—Dawoud Bey

Dawoud Bey’s 1970s photographs of Harlem present a moment and place, but in ways that reflect many moments, many places. Harlem, U.S.A., he calls the series: this, Harlem, is the United States.

Together, the images offer glimpses of the specific everyday lives of people while evoking the diversity of a neighborhood. Bey’s photographs, like Zanele Muholi’s at left, fight stereotyping by celebrating individuality.

From the exhibition: Give a damn. (June 30 – September 30, 2018)

Ongoing Research

Research on our collection is ongoing. If you have resources you’d like to share, please contact Associate Curator Rebecca McNamara.

Learn more

Give a damn.
Dayna Joseph ’19 on Dawoud Bey’s Harlem, U.S.A. series, 1975–1979
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