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How to be happy and true is the quest we're taking on together
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There's a light when my baby's in my arms
And i know she's reached my heart, in thin air...
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Willie Middlebrook
Watts Revisited, 1980, printed 2024
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Photography and the Black Arts Movement, 1955–1985
September 21, 2025 - January 11, 2026
The first exhibition to consider photography’s impact on a cultural and aesthetic movement that celebrated Black history, identity, and beauty.
Uniting around civil rights and freedom movements of the 1960s and 1970s, many visual artists, poets, playwrights, musicians, photographers, and filmmakers expressed hope and dignity through their art. These creative efforts became known as the Black Arts Movement.
Photography was central to the movement, attracting all kinds of artists—from street photographers and photojournalists to painters and graphic designers. This expansive exhibition presents 150 examples tracing the Black Arts Movement from its roots to its lingering impacts, from 1955 to 1985. Explore the bold vision shaped by generations of artists including Billy Abernathy, Romare Bearden, Kwame Brathwaite, Roy DeCarava, Doris Derby, Emory Douglas, Barkley Hendricks, Barbara McCullough, Betye Saar, and Ming Smith.
Poet Larry Neal, who coined the term Black Arts Movement, described it as “a cultural revolution in art and ideas.” This movement included poets, playwrights, musicians, filmmakers, photographers, and painters. They came together to make art that advanced civil rights and celebrated Black history, identity, and beauty.
This cultural revolution shook up the art world in the 1950s and ’60s. It embodied the struggle for self-determination championed by global freedom movements. New collectives, workshops, and collaborations emerged. Creatives made art that promoted Black dignity, hope, and freedom. They asked, how could art inspire social and political change? And what would it look like?
Photography was a driving force from the beginning, playing a critical role as both a communications tool and art form. Learn more about the movement and photography’s part in it—major themes in our exhibition Photography and the Black Arts Movement, 1955–1985.
Our exhibition begins in 1955, more than a decade before Larry Neal named the Black Arts Movement. That year, several events—and photographs of those events—helped catalyze the civil rights movement.
In September, Jet magazine was one of several publications that printed open-casket photographs of Emmett Till, a 14-year-old boy from Chicago who was lynched in Mississippi. Those disturbing images were seen across the country, including by a woman in Montgomery, Alabama: Rosa Parks. That December, Parks sat in the front, “white only” section of a segregated bus. The driver demanded that she give up her seat to a white passenger. She refused. As she later recounted, Emmett Till was on her mind in that moment.
Parks, in turn, was photographed sitting at the front of the segregated bus. Those images, and others like them, brought widespread awareness to the struggles for equal rights. Organizations like the Student Nonviolent Coordinating Committee (SNCC) encouraged photography of their marches, demonstrations, and acts of nonviolent civil disobedience. SNCC even taught some members to use a camera. Lifelong activist Maria Varela became a SNCC photographer after recognizing the need for more images of Black life to support the movement.
The beginning of the Black Arts Movement is often pinned to poet, playwright, and writer Amiri Baraka founding the Black Arts Repertory Theatre/School in New York City’s Harlem neighborhood in 1965. Nikki Giovanni, Gwendolyn Brooks, and Audre Lorde were among the many writers and poets active in the movement. Some collaborated with visual artists, even forming collectives such as the Organization of Black American Culture (OBAC) in Chicago.
OBAC writers, scholars, painters, and photographers collaborated to create the Wall of Respect community mural in 1967. It commemorated key figures in African American history, including W. E. B. Du Bois, Muhammad Ali, and Nina Simone. The mural was like a two-story collage that covered the facade of a building in the city’s South Side neighborhood. It incorporated paintings by several artists alongside mounted photographs by Roy Lewis and Darryl Cowherd. At the center was Amiri Baraka’s poem “SOS,” which opens, “Calling all black people.” The mural was demolished in 1972, but photographs by Roy Lewis and Robert Sengstacke continue to spread its message.
Music was an equally important part of the Black Arts Movement. Musicians John Coltrane and Sun Ra both performed at a fundraiser for Amiri Baraka’s Black Arts Repertory Theatre/School. Their experimental and expressive jazz inspired Black Arts Movement writers and artists.
In Coltrane at the Gate, photographer Adger Cowans depicted the saxophonist’s energy. Ming Smith captured the magic of a Sun Ra performance. For his homage to saxophonist Charlie Parker (who was commonly known as “Bird”), painter Raymond Saunders embraced the spontaneous spirit of jazz. Saunders collaged a newsprint photograph below the word “bird” written in a chalklike white script.
The Black Arts Movement celebrated the “beauty and goodness of being Black,” as Larry Neal put it. Photographer Kwame Brathwaite helped popularize the phrase “Black is beautiful.” Brathwaite was a pioneer of uplifting Black identity. He helped found groups that challenged conventional standards of beauty and celebrated African heritage. They organized fashion shows, created “Black is beautiful” products, and operated a photography studio.
In Untitled (Portrait, Reels as Necklace), Brathwaite adorned the model with a necklace made from film developing reels to “expose” her beauty. More than a decade later, Carla Williams created a self-portrait that echoed Brathwaite’s work. Showing herself in curlers, Williams challenged popular notions of beauty.
Small collectives of visual artists and photographers came together around the principles of the Black Arts Movement. In New York, the Kamoinge Workshop photography collective met regularly to critique each other’s work, debate photography’s purpose and aesthetics, and share tips. They created a space for their art by developing their own portfolios and exhibitions. The workshop also produced the groundbreaking Black Photographers Annual between 1973 and 1980.
A group of Chicago artists formed AfriCOBRA. The collective’s founders defined their own aesthetic principles, aimed at creating “images that jar the senses and cause movement” and “images designed for mass production.”
The Black Arts Movement made an impact beyond the United States. In Great Britain, Raphael Albert organized and photographed Black beauty pageants in London. James Barnor focused on style, migration, and Black city life in London and in Accra, Ghana. Horace Ové photographed the British Black Power Movement. He also captured scenes of the West African and West Indian communities in London, like his Walking Proud, Notting Hill Carnival.
Samuel Fosso opened his first photography studio in Bangui, Central African Republic, at age 13. After finishing with clients, Fosso would use his studio to experiment with self-portraits. He wore an array of costumes and adopted personas, often taking inspiration from the pictures of Black Americans he saw in magazines shared by American Peace Corps volunteers.
By the end of the 1970s, the literary arm of the Black Arts Movement had waned, but a new generation of artists and photographers carried on its spirit. Coming out of art school, photographers such as Carrie Mae Weems and Lorna Simpson explored more personal, metaphorical, and conceptual ideas.
In her Family Pictures and Stories series, Weems made her own family the subjects. The intimate photographs presented a counterargument to claims that many Black Americans faced poverty and struggle as a result of weak family structures. Weems paired the photographs with brief stories about each family member.
www.nga.gov/stories/articles/what-black-arts-movement-sev...
manpodcast.com/portfolio/no-725-photography-the-black-art...
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The National STEM Guitar Project, in partnership with NSF Advanced Technological Education (ATE) Centers with funding provided through a grant from The National Science Foundation (#1304405), hosts innovative Guitar Building Institutes around the United States. The 5-day institutes, combined with additional instructional activities comprising 80 hours, provide faculty training on science, technology, engineering and math (STEM) for middle, high school, and post-secondary faculty. The institutes present and teach participants hands-on, applied learning techniques to help engage students and spark excitement for learning STEM subject matter.
Nationwide, there are increasing concerns from businesses about the supply of science, technology, engineering, and mathematics trained workers. Science and math test scores in the U.S. are among the lowest around the world.
The goal and objective of the STEM Guitar Building Institutes is to showcase a new way to present learning for students with applied methods.
Advanced Accelerator Concepts workshop in Annapolis, MD. I had to take more pictures of the city than I took of the conference because someone had a D3S. I was completely outclassed.
On 18 August 2015, the Jumpmaster Students conduct PWAC (Practical Work in the Aircraft) exam over Nijmegen Drop Zone. PWAC tests the ability of the Jumpmaster student to issue time warnings and hand and arm signals, conduct a Paratroop Door check and exit an aircraft while in flight. (82d Airborne Division photo by MAJ Craig Arnold/ Released)
27/10/2011 - Zombie Student Ann-Marie wishes this were made from the still beating heart of a frightened man, but it will have to do. Humans Vs Zombies 2011 - Image by: Gráinne Aylward
Brittany Rodriguez, Technical Staff - Advanced Polymer Composites, was named to the SME 30 Under 30 honerees, recognizing manufacturing engineers for impact in their communities, schools, workplaces and across the industry. Photographed at the Manufacturing Demonstration Facility with the dual extruder equipment.
YIFAN supplies various mobile crusher for sale in India, Indonesia, South Africa, Russia, Philippines, USA, Italy, UAE, Uzbekistan, Iran, Israel, Egypt, Pakistan, and Nigeria etc., these mobile crushers include mobile jaw crusher, mobile cone crusher, mobile impact crusher, mobile stone crusher, mobile VSI crusher and so on, they are manufactured with high quality and competitive price.
Advanced Folder Encryption(www.kakasoft.com) is all-in-one lock folder software enables users to lock, hide, encrypt, secure and password folder, files, USB flash drives, hard drives in Windows 7, Vista, XP and earlier. Free download is available. Produced by KakaSoft www.kakasoft.com/advanced-folder-lock/
(www.thereadyproject.com/) - Lindon Farms uses advanced Metalite pouches that were designed for packaging in the late 2000’s,
After several months, my local repair shop gave up to repair my first exemplary of Leningrad camera. I got that GOMZ Leningrad for less than the price of the lens (50€) a year ago (February 24, 2024, flic.kr/s/aHBqjBftyP) at the monthly collector meeting in Saint-Bonnet-de-Mure, near Lyon, France. I looked then again for a working one.
Leningrad’s are fascinating Russian range-finder 35mm camera’s produced in Leningrad (USSR) / Saint-Petersburg, from 1956 to 1968 at about 76.000 units. It is not really a rare camera but appears only from time-to-time in the classical collector’s networks.
The Leningrad camera project was developed by GOMZ company (ГОМЗ, Государственный оптико-механический завод, Ленинград = Gosularstvennyi Optiko-Mekhanicheskii Zavod =State Optical-Mechanical Factory), Leningrad, USSR. The Leningrad ’s were constructed to a very high degree of precision and likely the most advanced rangefinder ever made at that time in Russia. At the 1958 World Exposition in Brussels, the Leningrad was awarded the "Grand Prix de Bruxelles”. Modified Leningrads were also used in the Soviet space program. In addition to a complex parallax-compensated multi-focal (for 3.5, 5, 8.5 and 13.5cm) collimated system, the camera has a built-in spring-powered mechanical motor for an automated film advance after each view taken. The Leningrad monts the 39mm Leica-type thread lenses, especially of the Jupiter series of lens derived of classical Carl Zeiss lenses designed for the Contax (Biogon 3.5cm and Sonnar’s 5, 8.5 and 13.5cm).
In 1965, GOMZ became LOMO ( ЛОМО, Ленинградское oптико-механическое oбъединение (Leningradskoïe Optiko-Mekhanitcheskoïe Obiedinienie) that is still existing, producing instrumental optical devices (www.lomo.ru).
On eBay, I focused on a LOMO Leningrad year 1965 in working condition but without the original film plate. I got the camera for 130€ including the leather bag and a standard lens Jupiter-8 1:2 f=5cm. The seller adapted cleanly a different film plate that looked to work, but my idea was to use the camera back of my faulty Leningrad. This film plate may a precision glass plate special designed for optimum film transport and optical planarity. I received my new Leningrad on January 31, 2025 in good condition.
Further little improvements and restorations swapping the rewind button and the memo disk of my first Leningrad exemplary to the working one.
February 6, 2025
69004 Lyon
France
Advanced HIIT workout is in itself an intense and exhausting training and involves short bursts of High-Intensity exercises with a short span of the rest period. HIIT is for everyone whether young, adult, male, or female, and for whatever reason, you are doing for such as losing weight, shredding fat, or improving cardiovascular or overall health.
Some of the best Advanced HIIT Workout exercises to push your limits even further :
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On Saturday, March 10, 2018, Syracuse Academy of Science advances to Class C state semifinals with 62-57 win over Bainbridge-Guilford.
It wasn’t easy. But it did feel inevitable.
It took 32 minutes of steely effort, but Syracuse Academy of Science used timely shooting and 20 points from Lyrik Jackson to defeat Bainbridge-Guilford 62-57 on Saturday at the SRC Arena in the Class C regional finals. The win advanced the #SASAtoms into the state semifinals, where they will take on Allegany-Limestone.
“We dug in. We just dug in,” SAS head coach Reginald Pickard said. “We knew that we had it in us we just had to let it come out.”
The Atoms needed all the grit they could muster in the fourth quarter. Trailing 45-44 to start the final frame, SAS put together an 11-2 run to start the fourth, creating a 55-47 advantage. Alexius Pierce, Freey Pleasants and Xyel Bradford all contributed to a run that Jackson capped with a three from the left side.
“That’s what coach teaches us,” Jackson said. “At times like that you can’t feel the pressure, we had to stay calm and be focused. So that’s what we did.”
Bainbridge-Guilford responded with a 8-0 run to even the score at 55, but Jackson, Pierce and Pleasants again combined for a 7-2 run that clinched the five-point win for #SASCS. All in all, the Atoms finished with five players scoring more than five points and three players in double figures.
“We have a great team, and it makes us hard to defend,” Pickard said. “It gives us a balanced attack, and we can spread it out.”
The late run was a product of that depth and a level of resilience after the Atoms had led by as much as nine in the first quarter, only to eventually trail by as much as six in the second.
“It’s a team effort,” Jackson said. “We were flat for a little, and we knew they were a good team. Coach just told us to run, and it was scrappy but it worked out.”
Jackson led the Atoms with 20 points, just missing a double-double with eight rebounds. Pleasants and Pierce added 12 apiece, and Bradford pitched in eight. Abigail Selfridge led all scorers with 23 for Bainbridge-Guilford.
Having unlocked enough of their potential to break into the state semifinals, Pickard said his girls are just getting started.
“Our motto is ‘let me be great.’ It’s about potential,” Pickard said. “It came from one of our coaches who lost her son, he always said, ‘let me be great.’ That’s what we did tonight and what we want to keep doing.”
The Atoms’ next opportunity comes on Friday when they meet Allegany-Limestone. That game is scheduled for an 11:45 a.m. tip at Hudson Valley Community College.
Article posted at highschoolsports.syracuse.com/news/article/-7252828500090...