达乌德·贝（Dawoud Bey，生于1953年）是一位美国摄影师，最出名的是为未被充分代表的主题拍摄大尺寸的肖像，并致力于促进关于当代社会和政治话题的对话。Bey也在过去找到了灵感，在最近的两个系列作品中（在这本书中首次一起展示），他明确地探讨了非裔美国人的历史，其作品既抒情又直接。2012年，Bey创作了《伯明翰计划》（The Birmingham Project），这是一个配对肖像系列，用来纪念三K党轰炸伯明翰市的6名受害儿童，阿拉巴马州第16街浸礼会教堂（大规模民权集会的场所），以及暴力事件的后果。《Night Coming Tenderly, Black》是2017年在俄亥俄州制作的一组大型黑白景观画，它重新想象了地下铁路(Underground Railroad)曾经运营的场所。本书的开头用一篇文章探讨了这个系列在Bey更广泛的作品中的位置，以及它们与过去、现在和彼此之间的关系。其他的文章探讨了这些作品引发的种族、历史、时间和地点的联想，谈论了这两个系列照片的特殊性和共鸣。

With a powerful juxtaposition of portraiture and landscape photography, this book explores Dawoud Bey’s vivid evocations of race, history, time, and place

Dawoud Bey (b. 1953) is an American photographer best known for his large-scale portraits of underrepresented subjects and for his commitment to fostering dialogue about contemporary social and political topics. Bey has also found inspiration in the past, and in two recent series, presented together here for the first time, he addresses African American history explicitly, with renderings both lyrical and immediate. In 2012 Bey created The Birmingham Project, a series of paired portraits memorializing the six children who were victims of the Ku Klux Klan’s bombing of Birmingham, Alabama’s 16th Street Baptist Church, a site of mass civil rights meetings, and the violent aftermath. Night Coming Tenderly, Black is a group of large-scale black-and-white landscapes made in 2017 in Ohio that reimagine sites where the Underground Railroad once operated. The book is introduced by an essay exploring the series’ place within Bey’s wider body of work, as well as their relationships to the past, the present, and each other. Additional essays investigate the works’ evocations of race, history, time, and place, addressing the particularities of and resonances between two series of photographs that powerfully reimagine the past into the present.