Bearden 100

#40 Early Carolina Morning - 1978
By Romare Bearden

Selected by Satch Hoyt

Early Carolina Morning - 1978

This work of Romare Bearden is both animated and static out there on a black utopian planet, in some universal timeless space,
Here we witness yet another sonic tapestry from the maestro of cut and paste.
Two figures are bathed in an almost George de la Tour light, situated in what could be both described as a Henri Matisse type interior, and or a shot gun shack.
The composition reads like a ritual, but a ritual to what we ask; herein lies the mystique and ambiguity so often found in Bearden's oeuvre.
In the back ground the unkempt altar/bed, soaked in love making potions nods at many a venusian voyage. The small hound dog, the guardian of the ritual, discreetly turns its gaze inward.
The voluptuous female goddess figure rivets us with a red eyed ganjaesque gaze. Her steel like breasts ooze fertile libations on a barren Jim Crow south.
She holds what could be interpreted as two veiled phallus, both seduction and protection are firmly integrated in this highly charged scenario .
The blindfolded gaze of the male keeper of the flame figure is piercing, so piercing in fact that one feels like the elongated glass that he clutches in his Tchokwe scale hands, could at any moment
shatter into smithereens,  The planes utilized by Bearden in the execution of this figure are very reminescent of equestrian Dogon statuary sculpture.
Romare Beardens rich oeuvre reads like musical manuscript, he fervently upheld the traditions of African oral culture, whist pictorialy exposing the scars, and portraying the joys of a segregated south.
He has so eloquently documented the Harlem Renaissance as only someone who actually lived it could, he has left us with pertinent palimpsest maps, maps of our intense complex kaleidescopic history.              .
Thru Romies oeuvre we are able to trace from whence we came and where we could be going, out there on a black utopian planet in some universal timeless space.

Satch Hoyt

New York, Paris, Berlin

Title,  "He Loved Him Madly" Year,   2011 Materials,  Trumpet, Mink fur, Audio components. Accompanied by a soundscape, Dmns, 22 x 6 x 6 Photo Trevor Morgan

Satch Hoyt, born in London, currently lives and works in Berlin.

He makes sculptures and installations accompanied with sound as well as paintings and drawings.

There is a dichotomy in the genres that define two sides of the same coin: a dual and complementary reflection on the African Diaspora and its multifold consequences. The sculptural trope in Hoyt’s work addresses the facts on the ground, so to speak, of black experience, while the drawings tap into a spirit of fantasy, refuge, and transcendence—they are vehicles for an imaginative journey beyond the obduracy and oppressiveness of history. Hoyt was an accomplished professional musician/composer before embarking on a career in the visual arts. Drawing deeply on that background, the artist has made musicality and aurality a base chord of his visual practice.

Recent exhibitions and projects include:

“NewtopiaThe State of Human Rights ”, Kazerne Dossin Museum, Mechlen, Belgium 2012
“Thrown Together”, Nomad Gallery, Brussels, Belgium 2012
“Tale Spinners”, Nomad Gallery, Brussels, Belgium 2011
“The Record Touring”, Institute of Contemporary Art, Boston, USA 2011
“Hors Pistes”, Centre Pompidou, Paris, France 2011
“Nomadic Settlers", Bethanien, Berlin, Germany, 2011
"The Art Is A Combat Sport ", Museum of Fine Arts, Calais, France, 2011
“Stay Hungry ", Kleingartenkolonie am Gleisdreieck, Berlin, Germany, 2011
“Spoken Word", Kaaitheater, Brussels, Belgium, 2011
“The Record: Contemporary Art and Vinyl”, Nasher Museum of Art, Raleigh, USA, 2010
“The Global Africa Project”, Museum of Arts and Design, New York, 2010
“The San Juan Triennial”, San Juan, Puerto Rico, 2009
“Beijing Biennale”, National Art Museum of China, Beijing, China, 2008
“For Love of Sugar”, St. Paul’s Cathedral/Docklands Museum, London, UK, 2007;
’Infinite Island”, The Brooklyn Museum, New York, USA, 2007;
”Black Panther Rank and File”, Yerba Buena Center for the Arts, San Francisco.