Sponsored images from 
View allAll Photos Tagged consider
....consider it an insult, haha! I usually see Japanese people doing this, while Chinese do the thumb between the pointer and middle finger thingy.
Nite Meetings, 1959
Alex Harsley
American, b. 1938
_______________________
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...
.
Considerada la ciudad viva más antigua de América, con su fundación en el 500 a.C. y la pirámide más grande del mundo en base, con aproximadamente 400 metros por lado. Pueblo mágico característico por sus, según la leyenda, 365 iglesias, una para cada día del año, así que planea bien tu viaje para conocer lo más representativo, así como sus fiestas, o el tradicional concierto de campanas, que se convierte en un real espectáculo.
(Foto fuente: www.flickr.com)
Considerando que la lactancia materna es la forma ideal de aportar los nutrientes que necesitan los recién nacidos para un crecimiento y desarrollo saludable; las diputadas y diputados que integran la Comisión de Salud analizaron, este día, un proyecto de reforma a la Ley de Promoción, Protección y Apoyo a la Lactancia Materna, que fue presentado por el diputado Rodolfo Parker (PDC).
Considerado patrimônio da advocacia, o prédio, localizado na Rua 1 com a Avenida Goiás, teve preservadas suas características originais históricas, no estilo Art Déco.
— Considera lo difícil que es cambiarte a tí mismo y entenderás la pequeña probabilidad que tienes al intentar cambiar a otros. La gente juzga rápido y con autoridad, pero se corrigen lentamente así mismos. Pero a tí nunca te importó cambiar a nadie ni juzgar.
"Amnesty International considers CUD leaders prisoners of conscience who have not used or advocated violence and calls on the Ethiopian government to release them immediately and unconditionally." - Amnesty International: May 16, 2006
The Kinijit leaders who are unjustly languishing in Kaliti jail are sending out a message this weekend to all Kinijit worldwide committees announcing their selection of a new leadership that will lead the party until they are released.
The new leaders are Ato Daniel Assefa (a prominent member of the 60-member CUD council in Addis Ababa, currently on a working visiting in the U.S), Ato Andargachew Tsegie (member of Kinijit-Europe leadership, who was instrumental in designing Kinijit’s organizational structure before the May 15 elections), Dr. Gebrye Wolderufael (a prominent physician residing in the Washington DC area), Major Joseph Yazew (current chairman of the Kinijit North America), Ato Berhane Mewa (current secretary general of Kinijit North America), and Dr. Moges GebreMariam (a physician and current treasurer of Kinijit-North America).
The new leaders will divide responsibilities among themselves, but previously the Kinijit leaders in Kality made it known that Ato Andargatchew Tsige, with his intimate knowledge of Kinijit’s organizational structure and manifesto, as well as his personal knowledge of all key Kinijit activists through out Ethiopia and around the world, is best suited to head the leadership group.
zehabesha.com/kinijit-leaders-in-kaliti-prison-selected-n...
Desde mi punto de vista, basado en lo visto en la asignatura, el agua tiene un valor monetario significativo. Es considerada un recurso económico que puede ser administrado tanto por entidades públicas como privadas. En algunos países, como el nuestro, el acceso al agua potable se reconoce como un derecho básico, y su provisión y gestión son responsabilidad de las autoridades públicas a nivel local y central. Sin embargo, en otros países, como hemos discutido en clase, empresas privadas son las encargadas de su suministro y gestión, lo que implica el pago de tarifas que pueden ser inaccesibles para ciertos sectores de la población.
Es crucial que el medio ambiente y sus recursos estén bajo la tutela de entidades públicas, y que todos tengamos acceso al agua a un precio razonable. Afortunadamente, en nuestro caso, las administraciones se ocupan de garantizar el acceso al agua para toda la población, incluyendo a aquellos en situaciones desfavorecidas. Esto implica la financiación de la construcción, mantenimiento, tratamiento y distribución del agua, así como la posibilidad de subsidiar su costo para quienes tienen bajos ingresos.
Desde una perspectiva más amplia, el agua puede ser vista como un recurso económico escaso y valioso, dado que su disponibilidad y calidad son fundamentales para numerosas actividades económicas, como la agricultura, la industria y el turismo. De hecho, el acceso al agua puede considerarse un factor clave de producción, ya que su disponibilidad y calidad afectan directamente a la productividad y rentabilidad de estas actividades. Por ejemplo, la agricultura sin acceso suficiente y de calidad al agua puede enfrentar dificultades significativas para producir cultivos, lo que a su vez impacta en la economía local y nacional.
En mi publicación anterior, describí el agua como el fundamento de la vida y el progreso de nuestro planeta y sus seres, tanto abióticos como bióticos. A día de hoy, sigo manteniendo esta perspectiva, pero ahora la pienso desde una óptica más cercana, centrada en nosotros como individuos. El agua sigue siendo esencial para la vida y el progreso, pero debemos ser conscientes de la realidad del acceso y consumo de agua en todo el mundo. Por ello, en esta reflexión, considero el agua como dinero, ya que la accesibilidad a este recurso vital varía según la capacidad económica de los países. Es crucial entender que el agua es vida, pero ¿qué sucede si no tenemos acceso a ella? ¿Perdemos la vida? Esta es la realidad para muchas personas en el mundo que carecen de este privilegio, que debería ser un derecho humano garantizado para todos, independientemente de su nivel de ingresos, por ello comparó nuestra situación a este terrario eterno, una burbuja en la cual vivimos con mejores circunstancia que la mayor parte del planeta y aun después de haber dado esta asignatura con un objetivo más crítico y claramente distinto a otras asignaturas de la carrera, tomo como referencia la famosa frase de nuestra profesora “¿Que podemos hacer nosotros mismo para mejorar?” que ha hecho a muchos, mejorar en distintas actuaciones de nuestro dia a dia pero a su vez me ha hecho pensar en que realmente no comprendemos al 100% lo que pasan muchísimas familias a fuera de esta “burbuja” por el simple hecho de gente que vive dentro de esta (refiriéndose a la burbuja), ha convertido al agua en una fuente de ingresos a costa de numerosas vidas.
.
_______________________
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...
.
Item No. 104 No. G-576/2009
Agenda :
To consider the request of the Secretary, R T A, Palakkad for prior concurrence of the RTA , Thrissur for the portion of route lies in its jurisdiction for renewal of regular permit in respect of the stage carriage KL 8 AN 8222, operating on the inter district route Olavakkode Railway Colony – Thrissur Medical College via. Palakkad, Yakkara, Vadakkummuri NH, Coyalmannam NH, Tripalur NH, Alathur, Erattakulam NH, Vadakkenchery, Vaniampara, Mission Hospital, Thrissur Swaraj Round and Viyyur as LSOS for a further period of 5 years from 09.11.32004.
Ref : Lr. No. C6-72806/2008 P dated 17.11.2008 of the Secretary, RTA, Palakkad
------------------
Permit Number :KL99/375/1999
Permit Owner:SALOMON C M
Permit Owner Address: CHEMMANAM HOUSE CHENNAIPARA
POST THRISSUR 680653
Permit Valid From:19/09/2018
RAILWAY COLONY 06:05 am
PALAKKAD BUS STAND 06:20 am - 06:49 am
THRISSUR 08:45 am
THRISSUR MEDICAL COLLEGE 09:05 am
THRISSUR MEDICAL COLLEGE 09:30 am
THRISSUR 09:50 am - 10:26 am
PALAKKAD BUS STAND 12:22 pm - 12:48 pm
RAILWAY COLONY 01:03 pm
RAILWAY COLONY 01:03 pm
PALAKKAD BUS STAND 01:15 pm - 01:19 pm
THRISSUR 03:15 pm - 05:33 pm
THRISSUR MEDICAL COLLEGE 05:53 pm
THRISSUR MEDICAL COLLEGE 06:00 pm
THRISSUR 06:20 pm - 06:26 pm
PALAKKAD BUS STAND 08:22 pm - 08:25 pm
RAILWAY COLONY 08:40 pm
Rutland County Council’s Planning and Licensing Committee met Tuesday 14 January to consider a planning application for a McDonald’s restaurant in Oakham 20190614FUL
Considerado patrimônio da advocacia, o prédio, localizado na Rua 1 com a Avenida Goiás, teve preservadas suas características originais históricas, no estilo Art Déco.
Manuel Alegre recebeu medalha de ouro da cidade de Coimbra
O escritor e poeta Manuel Alegre foi este sábado, 30 de Maio de 2015, distinguido com a medalha de ouro da cidade de Coimbra e, na sessão, ofereceu ao município o manuscrito original de “Trova do Vento Que Passa”, poema de sua autoria. Na cerimónia, que decorreu no salão nobre da Câmara Municipal de Coimbra, Manuel Alegre agradeceu a distinção “com emoção e humildade”, considerando-a “a mais importante que podia ter recebido na vida”.
Na ocasião, o escritor lembrou nomes vários das artes, do desporto, da política, da vida académica “e da luta pela liberdade”, uma geração que, disse, “mudou a história de Coimbra e do país”. Manuel Alegre disse sentir ao seu lado, enquanto discursava, “de uma forma muito especial e quase física”, o guitarrista António Portugal e o poeta Adriano Correia de Oliveira, que, respetivamente, musicaram e deram voz a “Trova do Vento Que Passa”. O escritor ofereceu ao município o manuscrito do poema, escrito em 1963, afirmando que “desde sempre e para sempre” o texto pertence a Coimbra.
Já o presidente da Câmara Municipal de Coimbra, Manuel Machado, dirigiu-se a Manuel Alegre apelidando-o de “excelentíssimo poeta da liberdade” e sustentou a “honra e emoção” com que o município decidiu atribuir-lhe, “por unanimidade e aclamação”, a mais elevada distinção honorífica de Coimbra.
“É um feliz reconhecimento para quem quis fazer da poesia, literatura e política elementos indissociáveis e orientadores de um percurso cívico”, afirmou Manuel Machado. O autarca lembrou ainda que Coimbra inscreveu na sua toponímia a Praça da Canção – livro de Manuel Alegre editado em 1965 e cujos 50 anos são este sábado assinalados – aludindo ao espaço requalificado em 1999 e situado na margem esquerda, junto ao rio Mondego, sinal do “reconhecimento público” sobre o livro e da importância da obra para a história da cidade.
A homenagem a Manuel Alegre inseriu-se no programa da Feira Cultural de Coimbra, que decorre no Parque Dr. Manuel Braga até 7 de junho.
Álbum com 92 fotografias da cerimónia.
Fonte do texto: observador.pt/
Global Theme | End | Fin | #CMend
Los fines son oportunidades únicas disfrazadas. Nos permiten dar sentido a nuestras relaciones pasadas, experiencias, proyectos y temporadas en la vida.
Por otro lado, los comienzos están romantizados y nos dan energía para imaginar todas las cosas impresionantes que haremos. Los titulares celebran la última startup en ascenso o ‘eso’ que los viajeros deben ver.
Pero alcanzar el final de algo también puede acarrear una alegría significativa. El autor Wes Moore habló una vez sobre la diferencia entre nuestros trabajos y nuestro trabajo. Moore dijo: “Tu meta nunca debe ser comenzar algo. Tu meta debe ser terminar las cosas”.
Cuando realmente cumplimos un final, refleja el crecimiento y el cambio real. Podemos crear proyectos para terminar con la soledad, alejarnos de relaciones vacías, cambiar hábitos o elegir una trayectoria profesional diferente.
El secreto sobre “el fin” es que en realidad contiene innumerables posibilidades.
Nuestro capítulo de Río de Janeiro eligió la exploración de End este mes e Isadora Zeferino ilustró el tema.
-------------
¡ENTREVISTA A NUESTRO SPEAKER ABNER BENAIM!
¿Eres una Persona mañanera o nocturna?
Antes fuí una persona nocturna, pero hoy en día me considero una persona mañanera.
¿Qué es lo que más te encanta de lo que haces?
Lo que más me encanta es el Proceso Creativo. Me parece sorprendente el Juego Mental que sucede en la cabeza de una persona cuando empieza a crear algo.
¿Qué te inspiró y cómo te involucraste en tu profesión actual?
Me di cuenta que me gustaba, que me hacía sentir bien el camino del Arte y del Cine, y seguí caminando en esa dirección. Empecé a estudiar cine tarde a eso de los 27 años, inicialmente estudié Relaciones Exteriores Internacionales.
¿Cómo empiezas tu día?
Caminando durante 1 hora al día.
Cuéntanos acerca de tu mayor logro, ese del que te sientes orgulloso.
¡Mis hijos! Y haberme dedicado al cine y al arte.
¿Quién o qué te transmite una inspiración creativa?
La gente, las Historias, un buen cuento, los lugares y ambientes.
De cualquier lado nace la inspiración. Me considero una persona muy visual.
El café siempre está presente en nuestros eventos creativos, si eres un amante del café ¿Cuál sería tu favorito para ordenar?
Un buen Café Panameño.
¿Cuál es tu lugar favorito en la Ciudad de Panamá?
Tengo dos: El Parque Omar y la Avenida Balboa. Me siento muy bien al estar mirando el mar.
¿Cómo te relajas o desestresas?
Escuchando música con un buen ritmo y caminando.
- Abner Benaim -
Considerado patrimônio da advocacia, o prédio, localizado na Rua 1 com a Avenida Goiás, teve preservadas suas características originais históricas, no estilo Art Déco.
June 30 - I always consider these a sure sign of summer. These flowers are growing by the apartment building's patio area.
This image is in a set called "My Daily Photo Stream". Whereas the focus of my eJournal and images blog is on text, I want to create an emphasis on photos here. I'll shoot and add an image each day. Doing so will remind me to constantly carry my camera and it'll be a more direct record of current, personal experiences.
Considerada um dos maiores patrimônios histórico e arquitetônico do país, a Capela de Santo Antonio completou 330 anos de existência.
Parte integrante do conjunto arquitetônico do Sítio Santo Antônio, a capela foi construída por Fernão Paes de Barros em 1681, e é considerada, juntamente com a Casa Grande como a mais antiga edificação construída em taipa de pilão de todo o Estado de São Paulo.
Com 70 anos de tombamento concedido pelo IPHAN – Instituto do Patrimônio Histórico e Artístico Nacional, o conjunto arquitetônico foi descoberto em 1937 em situação precária, onde quase metade do prédio da Casa Grande já havia ruído.
A riqueza arquitetônica da edificação já foi objeto de estudos e teses acadêmicas. O arquiteto Lucio Costa, responsável pelo projeto do Plano Piloto de Brasília, foi um dos primeiros profissionais renomados a identificar as manifestações de arte genuinamente brasileira que o local apresenta.
Adquirida pelo escritor modernista Mário de Andrade, que em 1944 doou os imóveis ao Serviço de Patrimônio Histórico e Artístico Nacional, exigindo apenas uma condição para tal feito: ser o zelador deste patrimônio enquanto estivesse vivo.
Em critérios de conservação, a primeira restauração foi realizada durante quase toda a década de 40, sendo que em 1965 o interior da Capela sofreu uma nova intervenção para a reconstituição das tábuas do altar principal. No início dos anos 90 foi realizado um novo estudo para a conservação dos elementos decorativos, que vinham sendo deteriorados pela ação dos raios ultravioleta.
Inserido numa paisagem permeada por extenso gramado, lagos e grande porção de mata nativa, o conjunto arquitetônico já serviu de locação para a produção de filmes e documentários e faz parte de dois importantes roteiros turísticos do interior paulista: Roteiro Taypa de Pilão e o Roteiro dos Bandeirantes, devido a sua grande importância arquitetônica.
O sítio Santo Antônio está aberto à visitação pública aos sábados, domingo e feriados, das 9h30 às 16h30.
Al considerar necesario contar con servidores públicos de carrera que contribuyan a fortalecer la actividad parlamentaria estatal, el Comité de Estudios Legislativos analiza la propuesta formulada por el diputado Armando Bautista Gómez de que el Instituto de Estudios Legislativos (Inesle) profesionalice a los secretarios técnicos, a los secretarios de los ayuntamientos, tesoreros y directores de obras municipales.
Consider this: what would it be like to take Einstein with YOU for a day in your life? What about a roadtrip with him in the backseat?
I consider it a major feat to have gotten her to pose with this food. I put the food in the middle of the room and being a curious cat, she had to check it out. She is still very shy and not overly inclined to cooperate with my photography requests. I also used a longer lens so I was further away to take this shot.
This food is mainly composed of duck and peas. The vet also sold me a can of soft cat food made from similar ingredients, but Alice has zero interest in the soft food. She likes this kibble, but so do my other cats and it is expensive - too expensive to switch them all over to it. I did find a similar brand of kibble at the pet store in the city an hour away. I got a 10 pound bag in the city for about $25 which is what this small bag costs.
Lorna Simpson
Gestures/Reenactments, 1985
6 gelatin silver prints and 7 engraved text plaques
_______________________
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...
.
Un considerable número de personas se concentraron a partir de las 7 de la tarde en la conocida Plaza 15M (antigua Plaza de Candelaria) en Santa Cruz de Tenerife para protestar ante el anuncio del Presidente del Gobierno de reformar la Constitución con la finalidad de introducir un límite al déficit público.
Más información:
Veludo é considerado brega pela maioria, mas você sabia que isso pode fazer você parecer sofisticado também? Antes de demitir o veludo de uma vez por todas, experimente estas elegantes ideias de roupa de veludo. Tenho certeza de que eles mudarão de ideia imediatamente!
Top com uma jaqueta
...
Alcobaça est une municipalité (en portugais : concelho ou município) du Portugal,du district de Leiria située dans le sous-région de l'Ouest, dans la province de l'Estremadura, et la région Centre.
Le monastère de Santa Maria d'Alcobaça, au nord de Lisbonne, Portugal, est fondé au XIIe siècle par le roi Alphonse Ier. Par l'ampleur de ses dimensions, la clarté du parti architectural, la beauté du matériau et le soin apporté à l'exécution, il est considéré comme un chef-d'œuvre de l'art gothique cistercien. Le monastère est imprégné de l'idéal de simplicité ascétique prôné par saint Bernard, une simplicité que les transformations successives apportées au fil des siècles n'ont pas altérée. Il est inscrit au patrimoine mondial de l’humanité de l’UNESCO depuis 1989. Il est déclaré en juillet 2007 comme une des sept merveilles du Portugal.
Beauty, Park Avenue, Reservoir Hill
1977
John Clark Mayden
American, born 1951
_______________________
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...
.
Certainly spouses may consider turns viewing the children, utilizing the kids to use, and providing college of martial arts help, whilst an additional companion will get within their physical exercise. And really becoming a mentor for his or her kid's team, regardless of the exercise, generally offers for some extent of bodily exercise, utilizing the reward of attending to become integrally involved using the kid's enhancement in that exercise. But for many of us, pulling all this off could be a challenging symphony to orchestrate, and that is why, even for previously energetic people, their well being and fitness degree usually declines because they wind up turning into bleacher-creatures and full-time chaperones in help in their kids' actions. As moms and fathers, we're greater than prepared to produce these sacrifices to make sure that our kids can advantage. But wouldn't or not it's fantastic if we could find out a way to remain energetic with each other with our children? Is there an answer?
collegeofmartialarts.blogspot.com/2012/07/discover-combin...
Considerado patrimônio da advocacia, o prédio, localizado na Rua 1 com a Avenida Goiás, teve preservadas suas características originais históricas, no estilo Art Déco.
Considero que la fotografía de personas es la mas complicada.
Sin embargo, acá obtuve muy buenos resultados.
Autor do requerimento pelo II Fórum Sobre Hidrovias, Jaiminho defendeu políticas públicas e mais investimentos no modal hidroviário, considerado pelo parlamentar mineiro, o modelo mais sustentável para o país
Considerado patrimônio da advocacia, o prédio, localizado na Rua 1 com a Avenida Goiás, teve preservadas suas características originais históricas, no estilo Art Déco.
.
_______________________
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...
.