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A development figure for package & poster
Each inside wings interpreter question and
counter part wings have each answers.
VTS for 2 November 2006. Topics included:
-- What is an ideal visualization session process?
-- How do you explain blogs and blogging?
-- Key idea: The blog game
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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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Some visuals work in progress for Middlewood Sessions at Cargo this Friday. Come one come all, you poor people that couldn't go to SXSW either.
Professionals coach students on careers in visual arts and digital design and showcase their professional portfolios.
Nueva galería ACCIÓN VISUAL disponible en @mutangcl
LIENZOS DE MURALLA Y PIEL
[La Conquista de AMERIKA]
Con reseña de Fernando Tag
"Ante todo debemos agradecer el coraje de estos artistas furtivos y su capacidad de mezclar la nueva realidad social con un sello propio. Si quiere saber la historia de la disciplina, verá que está muy mezclada con la escena musical. Esto genera un prisma único, doble, de cómo vivir el arte. Quien tenga un mensaje, será escuchado y sometido a la evolución de su contenido. Pero yo iré muchos pasos más adelante. O más atrás. En las cuevas con pinturas rupestres como Lascaux y Chauvet, hace cuarenta mil años se hacía graffiti con la misma técnica que hoy. No es esto algo increíble. El hombre prehistórico soplaba con una bombilla los pigmentos hacia la roca. Famosas son las manos donde el artista sopló sobre sí mismo y su familia imágenes negativas, como en la fotografía".
The sign, at Rock Harbor on Cape Cod, is meant for boats. It was something I found humorous because it was found at a locale not usual for that type of sign.
A selection of visual books designed by students in Carol Townsend’s Introduction to Two-Dimensional Design I class last semester. Find a book about vampires, complete with three-dimensional cover of latex and “teeth,” Cinderella’s coach that moves down a mountain trail, an architectural pop-up book, and more.
Service Design Corner Part I
Becoming Visual thinkers and loosening up!
Part of my ongoing masters in design innovation work. Working in the public sector:
How do you find a common language and help break down cultural barriers in the public sector.
Can 'non' designers become designers?
How can you make people more creative and accepting of creativity?
How can you integrate designers into the public sector?
Lots of questions, working on the answers.
Email me sarah@mypolice.org
Or twitter @rufflemuffin
or you can follow my progress and thoughts over at
Manaus, 06/06/2018. O presidente do TJAM, desembargador Flávio Pascarelli, inaugurou oficialmente a obra 'Composição', do artista visual Edemberg, na antessala da Presidência do Tribunal. Na cerimônia, além do magistrado e do artista, estiveram presentes o desembargador Yedo Simões, o secretário de Estado da Cultura, Denilson Novo, a vice-presidente da OAB, Adriana Mendonça e outras autoridades. Foto: Raphael Alves
live visuals from A440hz opening event for the 2007 newforms festival featuring the work of celia king featuring the work of emma lehto and michael black
Despues de ver la imagen por el visor tuve que regresar par haber que estaba pasando. La roca naranja esta enfrente de las rocas verdes. Casi formateo la tarjeta pensando que era una falla. Ops !!
Visual Statements
Visual Studies piece from Art and Design Foundation 2012.
An ironic piece of work with bold statements on pieces of recycled/found
materials that wouldn't normally be noticed.
This is the visual research in response to a brief exploring the national identity of Russia.
Clockwise from top left: Designing in response to the folk dress of Russia, using the folk head-dresses as a stimulus, using architecture as a stimulus, designing in response to the work of Peter Carl Faberge.