Michael-Anthony Allen and George Washington 2012

Dawoud Bey took these companion portraits, Michael-Anthony Allen and George Washington, to capture something true about each sitter. What strikes me is the composition: the subjects are captured in sharp focus against a blurry grey background, and they are both leaning on something—perhaps a pew or a church bench. I imagine Dawoud setting up his camera, the quiet click of the shutter freezing a moment in time. In the portrait on the left, the young man regards us with a cool intensity. You can see the contrast with the gentleman on the right, George Washington. His expression is more weathered, as if he has seen a thing or two in his time. The watch and ring glint, adding a touch of formality. I’m reminded of other photographic diptychs where the artist is investigating themes of history, memory, and identity. Dawoud's really inviting us to sit with these images and reflect on our assumptions and perceptions. Painting, like photography, can be this kind of embodied expression which embraces ambiguity and uncertainty, allowing for multiple interpretations.