NOWTRUTH!!! BECAUSE WE NEED TRUTH AND JUSTICE FROM THE COURTS MORE NOW THAN EVER, NOT HYPERPOLITICIZED, NUANCED LAW COMPLETE WITH THE REQUISITE NARRATIVE!! (LAW= Politically manufactured, orchestrated, strategic opinions, rulings, and orders for injustice to hide behind!)
“In another religion they honor people who serve like you with Sainthood!” – Economics Professor Adeel Malik,Oxford University, England and World Renowned News Expert Commentator, speaking about Abdul-Jalil and the Aaron & Margaret Wallace Foundation.
“GOD sent me an ANGEL!” – Hammer, speaking about Abdul-Jalil.
“Jalil, YOU ARE A TZADIK (SAINT)!”– Barry Barkan, Live Oak Institute and
Ashoka Fellow at Ashoka Foundation:Innovators for the Public
“I thank God for you and for bringing you into my life and for the ministry you have been given to help the people of God!”– Pastor L. J. Jennings, Kingdom Builders Christian Fellowship, speaking about Abdul-Jalil and AMWF
Beauford Delaney, Self-portrait, 1944. Photo: Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Beauford Delaney was an American Harlem Renaissance painter known for his colorful Modernist compositions and distinctive approach to figuration. One of the most important African-American artists of the early 20th century, he often painted New York street scenes, lively scenes in jazz clubs, and portraits of prominent black figures like James Baldwin and W.E.B. Du Bois. Can Fire in the Park (1946) is one of his most iconic images, movingly capturing a common occurrence in Depression-era New York life. In addition to his representational work, Delaney also painted abstractly, noting that “the abstraction, ostensibly, is simply for me the penetration of something that is more profound in many ways than the rigidity of a form,” he explained. “A form if it breaths some, if it has some enigma to it, it is also the enigma that is the abstract, I would think.” Born on December 30, 1901 in Knoxville, TN as one of 10 children, he worked as sign-post painter as a teenager before going on to study in Boston at the Massachusetts Normal School, the South Boston School of Art, and the Copley Society. After school, he moved to Harlem in New York, where he befriended fellow artists like Alfred Stieglitz, Stuart Davis, who introduced him to the work of Modernists like Paul Cézanne, Pablo Picasso, Henri Matisse, and others. He moved to Europe in 1953 but was unable to find the same success he had previously had in New York, and gradually succumbed to alcoholism and mental health problems before his death on March 26, 1979 in Paris, France. Today, Delaney’s works are in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, and the Philadelphia Museum of Art, among others. Fame, at least lasting fame — the your-work-goes-down-in-history kind, often accompanied by fat royalty payments — is a club that thinks of itself as an unbiased meritocracy, blind to everything but aesthetic innovation and popular success. It’s never quite worked out that way. When we look at the past, we still see generations of great talents who never quite got their due critically or commercially, many of them left relatively unsung. In this ongoing series, our critics pick artists they feel remain underappreciated and tell their stories and sing their praises. “He is amazing … this Beauford,” the novelist Henry Miller wrote of his lifelong friend Beauford Delaney in a 1945 essay that helped make the painter (whom Miller called a “black monarch” capable of making “the great white world … grow smaller”) a legendary attraction in Greenwich Village. So much so that people often gathered outside Delaney’s building at 181 Greene Street, where he lived and worked on the top floor — a walk-up lit only by a wood-burning potbellied stove. Born in Knoxville, Tennessee, in 1901, Delaney migrated north to Boston in 1923 to study art, then moved to New York in November 1929, days after the onset of the Great Depression. That first day in New York, he slept on a Union Square bench, where someone stole his shoes. The next morning, he set out on foot, in newly bought shoes, to walk uptown to Harlem. When he reached Central Park, he stopped because of his severely blistered feet.
Things had never been tougher for American artists — let alone black ones. Art schools didn’t take black artists, and independent-studio classes banned black artists from figure-drawing sessions with white models. Undaunted, Delaney began drawing at a midtown dance studio. Somehow, his career took off almost overnight. Four months after he arrived in New York, an article appeared in the New York Telegraph about portraits Delaney had done of dancers and society figures.
Beauford Delaney was born in Knoxville, Tennessee, the third child of the Reverend Samuel Delaney and Delia Johnson Delaney. He attended the Knoxville Colored School and later studied art with an elderly Knoxville artist, who encouraged him to get further training. In 1924 Delaney went to Boston where he studied at the Massachusetts Normal School and the South Boston School of Art, and attended evening classes at the Copley Society.
Delaney went to New York in 1929, settling at first in Harlem. He painted society women and professional dancers at Billy Pierce’s dancing school on West 46th Street, which gained him a reputation as a portraitist. His first one-man show, which consisted of five pastels and ten charcoal drawings, was at the 135th Street Branch Library of the New York Public Library in 1930. During the same year three of his portraits were included in a group show at the Whitney Studio Galleries, the predecessor of the Whitney Museum of American Art. Delaney also taught part-time at a progressive school in Greenwich Village.
By the late 1940s Beauford Delaney had become a significant figure on the art scene. He illustrated “Unsung Americans Sung” (1944), a book of black musical tributes edited by W.C. Handy; he had a series of one-man shows in New York and Washington, D.C.; and he exhibited in group shows in a number of other cities. In 1945 he showed his first series of portraits of writers Henry Miller and James Baldwin, who would become his lifelong friends. In 1949 he began an association with the Roko Gallery in New York, where he exhibited annually until 1953.
In 1953 Delaney left New York with the intention of settling in Rome, but a visit to Paris turned into a permanent stay. He had two studios in Paris, the first in the suburbs of Clamart and the other in the Rue Vincingetorix. In Paris Delaney exhibited in one-man and group shows at the Gallerie Paul Fachetti (1960), the Centre Culturel Americain (1961 and 1972), the Galerie Lambert (1964), the Musee Galliera (1967) and the Galerie Darthea Speyer (1973), among other places. The latter was a major showing of a selection of his work from the mid-1960s to the early 1970s and the catalog contained tributes by James Jones, James Baldwin, and Georgia O’Keefe. Delaney also exhibited in England, Germany, Italy, Spain, Switzerland and the United States. The Paris years saw the creation of several masterpieces including portraits of singer Marian Anderson and writer Jean Genet. During this period he also created a series of interiors and studies in watercolor.
After suffering two nervous breakdowns, Delaney was institutionalized, and died on March 26, 1979 at St. Ann’s Hospital in Paris. Delaney’s last one-man show in the United States was at the Studio Museum in Harlem in 1978, inaugurating that museum’s Black Masters Series. Delaney’s work is in several private collections and in the collections of the Schomburg Center for Research in Black Culture, The Studio Museum in Harlem, the Newark Museum and the Whitney Museum of American Art.
SCOPE AND ARRANGEMENT
The Beauford Delaney collection consists of correspondence with colleagues, friends, gallery owners, and family members, as well a printed material documenting Delaney’s life in Paris. Biographical information is provided in statements Delaney authored, articles prepared by others for catalogs, and his obituary. Among the many friends, colleagues and art collectors with whom he maintained an active correspondence is James Baldwin, who wrote an introduction to a catalog for an exhibition of Delaney’s art at Paris’ Galerie Lambert in 1964. Other correspondents include artists Charles Boggs, Al Hirschfeld, John Franklin Koenig, and Ellis Wilson, authors James Jones and Henry Miller (who was also a water colorist), art historian Richard A. Long, and his friend Lynn Stone. Additional artists, painters, writers, gallery owners and musicians who corresponded with Delaney include Lawrence Calcagno, Cab Calloway, Elaine DeKooning, Palmer C. Hayden, and Darthea Speyer.
The letters discuss the style of painting of the correspondents, travels, purchase and exhibition of works, and personal matters. Numerous gallery announcements for art exhibits of Delaney’s and other artists’ works in Paris, New York and other cities demonstrate the extent of Delaney’s activities in the contemporary art world. The collection also contains a large number of picture postcards, some sent by friends, and gallery announcements. Family letters are from his brother and fellow artist, Joseph Delaney, and discuss his own work and impressions of Paris; his brother Emery (includes letters Delaney wrote to his brother, in addition to those received); and Delaney’s niece, Imogene.
Sale Date: December 13, 2019
SOURCE OF ACQUISITION
Donated by Daniel Richard in 1988.
Compiled by Victor N. Smythe, 1998. Finding aid edited and adapted to digital form by Kay Menick in 2016.
Paintings and art catalogs transferred to Art and Artifact Division. Photographs transferred to Photographs and Prints Division.
As President and CEO of Superstar Management since 1971, the first African-American in this field, Abdul-Jalil al-Hakim has a tremendous wealth of experience in all aspects of business and personal management, contract drafting and negotiations, and performed all arbitrations of salary grievances and contract disputes for all professional sports and entertainment clients with unprecedented legal and historical results. He negotiates and drafts all agreements for all publishing, merchandising and licensing; commercial advertisements and product endorsements; corporate sponsorships and affiliations; motion picture, television, radio and personal appearances. He was the first “SUPER AGENT“, CREATED the Profession of Sports/Music/Entertainment Branding, Marketing and Promoting, the African-American in the field and has taught and lectured Entertainment Law for 35 years. Many of the agents and lawyers in the business where instructed, consulted, influenced or inspired by his work….
Made “Law Review” TWICE with UNPRECEDENTED cases establishing NEW LAW; Sports/Music/Entertainment Talk Show Founder, Producer and Host, CSA; Expert and Guest Political/Legal/Business/Sports/Music/Entertainment Analyst and Commentator; Business/Sports/Music/Entertainment Law Lecturor/Presentor; Sports Color Commentator; His “The Stars” show was the FIRST Cable Business/Sports/Music/Entertainment Talk Show in 1973; OpEd Columnist/Journalist; Sports, Music, Entertainment and Variety Film, TV, Concert and Special Events Content Creator/Producer/Developer/Runner/Promoter; Islamic Dawah Lecturor/Presentor; His Computer Intelligence Company First and Only Minority Certified IBM, Apple, Compact, Microsoft Computer Value Added Dealer (1982); Computer Technology Lecturor/Presentor; MWBE Specialist.
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We have received many, many requests to re-post A letter from young Devi (Kamala ) Harris to her older self- Vice President Kamala Harris explaining why young girls and boys look at her and DON’T see themselves, how she (Devi) doesn’t want to be her SEX-for-support,FREAKISH, IMMORAL, VIRTUELESS older self (Kamala)! #Kamalaisacop; #KamalaHarrisisaPoliticalPornStar, #PoliticalPornStar, #Nowtruth.org, www.Nowtruth.org
Dear Older Me………Kamala,
PLEASE, PLEASE, PLEASE STOP saying ”When I look at young girls and boys, and they look at me, they see themselves, and what they can be.”
The kids in school whisper about you, what their parents and relatives say. The whispers are now taunts of you as a pure politician in the worst moral and ethical way.
Rumors will haunt me of what you did for the right kind of advantage in political circles as “sex-for-support” with appointments to Commissions that paid over $400,000 from the State of California and a NEW BMW worked your way up the ranks of the Democrat Party!
So, why would YOU or ANY other attractive female District Attorney in her Twenties EVER get caught screwing a MARRIED, Senior Citizen in his Sixties AND his wife??!!!
Ask yourself if your Great-Grand Father, Grand Father, Father, Brothers, Uncles, Cousins, Great-Grand Mother, Grand Mother, Mother, Sisters, Aunts, etc., would approve of such behavior?!
Unfortunately, your sexual exploits were well know long before and after your screwing in the Wille Brown threesomes! Your “click” handle as “Cowgirl” says it all!
You see, HOW and the WAY someone gets where they are is MORE IMPORTANT than where the got and what they got out of it! When INTEGRITY and MORALS are tools for barter, THAT person is WORTHLESS, not just WORTH LESS than you value them!!
YOU did it PUBLICLY, and has a very well substantiated REP as a FREAK, referred to then as a “Toss Up”, that now would be referred to as a Hoe, Slut, THOT! They use hashtags #Kamalaisacop; #KamalaHarrisisaPoliticalPornStar, and #PoliticalPornStar to track you!
Too many people KNOW of these things and they are uncontroverted! If ANY MAN did the same thing, he might be considered “a PIMP, the Man!”, but it’s NOT an acceptable path for ANY RESPECTFABLE woman that wants to be considered a LADY, MUCH LESS VICE PRESIDENT!!
Mom is burning in her grave and dad is dying a slow death from your suffocating “daddy issues” playing out on a world stage!
I DON’T WANNA BE like you, I DON’T WANNA BE YOU! I’M BETTER THAN YOU! I can’t look UP to you, I can’t look UP someone who’s BENEATH me!