Crime is down and Brooklyn is hip, but
young black men face too much police harassment and economic opportunities for the poorest New Yorkers are grim and show no promising signs of improvement.
Not exact matches
Near the bar, a
young man in a
black shirt and shorts stood aimlessly, letting a rubber mask (Andrew Cuomo's
face with a pinocchio nose) dangle from his left hand.
This event featured speakers from organizations including the Ali Forney Center, Hetrick - Martin Institute, Depressed
Black Gay
Men, Caribbean Equality Project, Audre Lorde Project and others with the goal of raising awareness about the challenges and barriers
faced by LGBTQ
young persons of color.
His kind
face and the innate vulnerability of his performance were perfect for his tumultuous character arc, which begins with a
young Trey getting in trouble for his violent temper and eventually sees him eschewing those negative expectations of
black men.
Not that there aren't a parade of talented
younger faces in the cast, most likely eager to share space with the film's star, including Kumail Nanjiani («Silicon Valley»), Rich Sommer («Mad
Men»), Natasha Lyonne («Orange is the New
Black») and Beth Behrs («2 Broke Girls»).
In a recent profile with The New York Times, Jason Blum — the producer behind Get Out, Jordan Peele's massively popular 2017 thriller about a
young black man who
faces a terrifying form of racism in a predominantly white suburb — announced that one of his followup projects will be a horror film about
black lesbians living in the «burbs, directed by Dee Rees.
The matter of personal chemistry is provocatively covered in the dazzling opening sequence, in which a
young man (Michael Pitt) wearing a white doctor's coat to an edgy downtown New York Halloween party spots a slinky
young woman wearing
black leather and a
face mask; only her dazzling eyes, which he photographs, are visible.
And this program's essential goal is to help these
young men, some from troubled backgrounds and all daily
facing racial biases about
black males, get in touch with the gold within them, their inner strengths, and, in their own ways, become heroes.
In the story, based on Mosley's 2008 book «Tempest Tales,» Tempest Landry (William Alexander Jr.) is a street-wise
young black man living in Harlem, who is «accidentally» shot 17 times by police and finds himself at the pearly gates
facing St. Peter (David «Oz» Oswald).
- The Jerome Project (2015) by Titus Kaphar combines the portraits of three
young black men whose tragic deaths prompted a national conversation around racial profiling, policing, and gun violence: Trayvon Martin (died February 26, 2012), Michael Brown (died August 9, 2014), and Tamir Rice (died November 22, 2014), which outlines the subjects»
faces in white chalk on Asphalt - coated roofing paper.
«In the Crosshairs of the States» features a
young black man with his arms raised, a gray hoodie flipped up around his
face.
Yet as anxiety began mounting in the world, with «global immigration issues, attacks on America, and attacks within America by police on
young black men,» Johnson says, the notion of exploring just his own anxiety seemed inadequate, and he began drawing multiple anxious
faces instead.
It had the
faces of
black America, in Merton D. Simpson's Angry
Young Man and Reginald Gammon's Freedom Now.
In a triptych entitled «Escapism (misnamed),» Anderson creates computer - generated portraits that fuse together the
faces of three
young black men who were killed by police with those of the officers who either shot or choked them to death.
Perched at one of the magazine booths, I watched a succession of tribes go by: a blur of
men in white thobes; Eungie Joo and her crew from Sharjah (including M + curator Doryun Chong and the artists Danh Vo, Haegue Yang, and Eric Baudelaire); and the designer Rick Owens surrounded by five
black - clad beauties —
men, women, expertly draped, drifting slow figure eights around Michèle Lamy, Owens's strikingly
face - tattooed and arm - bangled partner, and a
young lanky soul, totally androgynous, lagging behind in a pink leather ball gown.
In the
face of overwhelming prejudice and ignorance, he bravely defends a
young black man falsely accused of raping a white woman inAlabamaduring the early 1930's.