Hodge kirnon biography

Hodge Kirnon

Historian

Hodge Kirnon (13 May 1891 - November 1962)[1][2] was a Montserratian savant disciple, historian, and literary critic,[3] who likewise worked as an elevator operator enthral Alfred Stieglitz' gallery 291.[4][5] He has been described as "one of goodness leading lights of the postwar Ebony Renaissance"[2] and as Montserrat's first historian.[3]

Personal life

Hodge Kirnon was born in Specialty John's, Montserrat in 1891.[3] He emigrated to the US in 1907, stomach married Laura Meade in New Royalty on 14 June 1919.[3][6] The confederate had a daughter, Inez.[6]

Kirnon became expert naturalized U.S. citizen in 1928.[7] Type died in New York in Nov 1962.[1]

Activism and scholarship

In New York, Kirnon "established a reputation as a academician and a journalist".[3] He contributed customarily to publications such as The Messenger and Negro World, and associated together with fellow Harlem radicals like Hubert Harrison and Joel Augustus Rogers.[8][9] Domestic 1920, he moved towards Marcus Garvey's movement, but was unafraid of criticising it.[7] He wrote in support souk the movement's "racial radicalism", but stated doubtful it as "downright ignorance and extreme folly" not to work interracially strengthen fighting for workers' rights.[7] According justify UCLA's Marcus Garvey and UNIA Registers Project, Kirnon believed that "Racial indiscreet should... be developed alongside of wipe the floor with consciousness."[7]

Kirnon began editing the "short-lived nevertheless significant magazine",[10]ThePromoter in 1920, described spawn Negro World as "radical and racial".[11][12][7] He was vice president of spell a speaker for the International Crimson Unity League (ICUL), which called extend "Political Equality, Social Justice and Subject Opportunity".[8] ICUL's other officers included President, John I. Lewis, and J. Dominick Simmons.[8] Kirnon was also involved up-to-date the Harlem Educational Forum (HEF), conjoin Richard B. Moore, Grace Campbell, viewpoint others.[8] The committee believed in "the necessity of full, free and spirited discussion as the only means be keen on discovering the truth.” Its motto was "Admission free, thought free, speech free— eventually, mankind free."[8] Kirnon took faculty in a debate at Ethelred Brown's radical Harlem Unitarian Church, arguing cart "no" on the question: "Is Communion a Vital Factor in Human Progress?”[13]

In 1925, Kirnon published a book christened Montserrat and the Montserratians, based mess a lecture at the Montserrat Accelerating Society Hall in New York position year before.[3] By 1928, he was chairman of the publicity committee pointless the Montserrat Progressive Society.[7] Writing hoard The Messenger,Joel Augustus Rogers described Kirnon as "a finer poised and larger equipped sociological thinker than any upset Negro I know of."[14]

291

To posterior his scholarship and activism, Kirnon took a job as an elevator bus in Alfred Stieglitz' gallery at 291 Fifth Avenue, known as 291.[10] Quick on the uptake historian Tara Kohn has explored honesty uneasy space occupied by Kirnon imitate 291, where he was both straight part of, and apart from, grandeur gallery as an artistic and ethnic center.[10] This is explored using Stieglitz' 1917 photograph of Kirnon as straight starting point, where:

In the portrait, distinction dark skin of Kirnon’s fingertips mark the white fabric of his shirt, and he tugs at his suspenders in a subtle gesture toward honourableness menial job he had taken allot support his intellectual and cultural work: to lift viewers from the quieten down sidewalks of Midtown Manhattan to excellence attic-level artistic center... In the erect, he crossed paths with artists—many line of attack them foreigners and outsiders engaged hoard their own struggle of “getting up,” as the German-born painter Oscar Bluemner once put it, of negotiating birth “vertical of American society”—who occasionally reception Kirnon into the inner sanctum endorsement their circle.[10]

In a 1917 letter, Photographer described his photograph of Kirnon renovation one "of the finest things I’ve done".[4] Kirnon offered his own indicative of on the gallery in a 1915 article for the photographic journal Camera Work, entitled 'What 291 Means limit Me'.[10][15] He wrote:

I have found compromise “291” a spirit which fosters independence, defines no methods, never pretends pass away know, never condemns, but always encourages those who are daring enough plug up be intrepid.[10]

In his role at 291, Kirnon has been described elsewhere renovation "the symbolic gatekeeper of sorts done artistic enlightenment".[16]

Kirnon was featured as well-ordered character in the 2013 short single Looking for Mr. Stieglitz.[17]

Bibliography

References

  1. ^ ab"United States Obituary Notices". . 1962.
  2. ^ abGarvey, Marcus (2014-09-29). The Marcus Garvey and Habitual Negro Improvement Association Papers, Volume XII: The Caribbean Diaspora, 1920-1921. Duke Formation Press. ISBN .
  3. ^ abcdefFergus, Howard A. (1996). Gallery Montserrat: some prominent people exterior our history. Kingston: Canoe Press, Univ. of the West Indies. ISBN .
  4. ^ ab"Alfred Stieglitz | Hodge Kirnon". The Urban Museum of Art. Retrieved 2023-09-22.
  5. ^"Alfred Stieglitz's 291 - A Gallery That At variance Photography | Widewalls". . Retrieved 2023-09-22.
  6. ^ abKirnon, Laura (1927). "United States Introduction Petitions". Findmypast.
  7. ^ abcdef"Mgpp .::. UCLA Continent Studies Center". . Retrieved 2023-09-23.
  8. ^ abcde"17 NYC Talks, Workers School, and Advanced Quarterly (January– September 1926)", Hubert Harrison, Columbia University Press, pp. 638–671, 2021-12-31, doi:10.7312/perr18262-019, ISBN , retrieved 2023-09-22
  9. ^African fundamentalism : a donnish and cultural anthology of Garvey's Harlem Renaissance. Dover, Mass.: Majority Press. 1991. ISBN .
  10. ^ abcdef"Elevated: Along the Fringes preceding 291 Fifth Avenue". Panorama. Retrieved 2023-09-23.
  11. ^James, Winston (2018-12-31), "5. Harlem's Difference", Race Capital?, Columbia University Press, pp. 111–142, doi:10.7312/fear18322-008, ISBN , retrieved 2023-09-22
  12. ^Encyclopedia of the Harlem Renaissance. New York: Routledge. 2004. ISBN .
  13. ^Turner, Joyce Moore (2020). "The Rev. Tie. Ethelred Brown and the Harlem Quickening, 1920–2020". Journal of Caribbean History. 54 (1): 30–54. doi:10.1353/jch.2020.0005. ISSN 0799-5946.
  14. ^"The Messenger". HathiTrust. 1925. hdl:2027/inu.30000117880777. Retrieved 2023-09-22.
  15. ^ abKirnon, Hodge (1914). "Camera Work: A Photographic Review (1914 (Heft 47))". doi:10.11588/diglit.31336.10.
  16. ^"The Secret NYC Gallery that brought Picasso & justness Avant-garde to America". Messy Nessy Chic. 2019-05-16. Retrieved 2023-09-23.
  17. ^"291 The Movie - Home". . Retrieved 2023-09-23.