This is a very select list of exhibitions and although the exhibitions represented do paint the depth and breadth of art being produced by African American artists, it is not at all comprehensive when it comes to the number of exhibitions that are currently on view or forthcoming. The aim has been to select exhibitions that show works reflecting inter-generational production by male and female artists from across the country which are on view in various types of venues. To view a more expansive offering of exhibitions highlighting the work of African American artists, please visit the BAP Blog page entitled: Select Art Exhibitions in 2017. That page is updated on a weekly basis by either adding newly discovered exhibitions or removing those that are approaching their expiration date. Its intent is to provide comprehensive coverage of ongoing exhibitions on view for the current year.
Faith Ringgold (American, born 1930). For the Women's House, 1971. Oil on canvas, 96” x 96” Courtesy of Rose M. Singer Center, Rikers Island Correctional Center. ©2017 Faith Ringgold / Artists Rights Society (ARS), New York.
Emma Amos (American, born 1938). Preparing for a Face Lift, 1981.
etching and crayon, 8 ¼” × 7 ¾. Courtesy of Emma Amos.
© Emma Amos; courtesy of the artist and Ryan Lee,
New York. Licensed by VAGA, New York
We Wanted a Revolution is built around a key group of movements,
Jan van Raay (American, born 1942). Faith Ringgold (right)
and Michele Wallace (middle) at Art Workers Coalition
Protest, Whitney Museum, 1971. Digital C-print. Courtesy of
Jan van Raay, Portland, OR, 305-37. © Jan van Raay
A catalogue/sourcebook which "will ignite further scholarship while showing the true breadth and diversity of black women’s engagement with art, the art world, and politics from the 1960s to the 1980s" accompanies this exhibition.
The Detroit Institute of Arts (DIA) presents Art of Rebellion: Black Art of the Civil Rights Movement, July 23 through October 22, 2017. The exhibition is part of a city-wide commemoration of the 50th anniversary of the 1967 Detroit rebellion.
Allie McGhee, Black Attack, 1968,
oil on canvas. Courtesy of the artist.
Art of Rebellion: Black Art of the Civil Rights Movement features 34
Hale Woodruff, Ancestral Memory, 1966,
oil on canvas. Detroit Institute of Arts.
Featured in Black Arts Movement section.
The following is a brief overview of the five collectives featured in the exhibition, Art of Rebellion:
Spiral Group: This New York based collective was active from 1963 to 1965/66. It was founded by Charles Alston, Romare Bearden, Norman Lewis, Hale Woodruff, and others with a mission to explore the relationship of art and activism, and to advance the Civil Rights Movement's platform of social change. There was a focus on the commitment of black artists in the struggle for civil liberties. SEE: Culture Type and ARTnews
Kamoinge Workshop: Formed in 1963 "for the purpose of providing crucial support and solidarity for those [black] artist vying towards artistic equality within the industry of photography." (Kamoinge website)
Weusi: Ademola Olugebefola and Otto Neals were original founders of the WEUSI Artist Collective in 1965. This ongoing collective is dedicated to eradicating negative misrepresentations of black culture in the media and to teaching African Americans about their heritage. (PR)
Black Arts Movement: Active in New York 1965-76 and founded by poet and playwright Amiri Baraka. This politically motivated group of black poets, artists, dramatists, musicians, and writers emerged in the wake of the Black Power Movement.
AfriCOBRA (African Commune of Bad Relevant Artists): Established in Chicago in 1968 by Jeffrey Donaldson, Wadsworth Jarrell, Barbara Jones-Hogue, and Gerald Williams. These artist created powerful art that was understandable, relevant, and accessible. They regarded art making as a revolutionary act and developed Afrocentric aesthetic principles and concepts that reflected the style, colors, cool attitude, and rhythm associated with African American culture. (PR)
A scholarly catalogue accompanies the exhibition.
July 29, 2017, 1:00 PM
Detroit Film Theatre: Detroit Home Movies
Kansas City, Missouri
Kemper Museum of Contemporary Art presents Magnetic Fields: Expanding American Abstraction, 1960s to Today, which will be on view June 8 through September 17, 2017. After its closing at the Kemper, it will travel to the National Museum of Women in the Arts in Washington, D.C. Magnetic Fields "marks the first U.S. presentation dedicated exclusively to the formal and historical dialogue of abstraction by women artists of color."
Magnetic Fields focuses a long-overdue lens on the contributions of women
Mildred Thompson, Magnetic Fields, 1991,
oil on canvas, triptych, 70½” x 150”.
Courtesy of the Mildred Thompson Estate, Atlanta, Georgia
Alma Thomas, Orion, 1973, acrylic on canvas,
59¾”x 54”x 1¼”. Courtesy of the National Museum of Women in the Arts,
Gift of Wallace and Wilhelmia Holladay. ©Alma Woodsy Thomas.
Photo: Lee Stalsworth
For a full program schedule SEE: Adult Programs
Reflections: The artists of Magnetic Fields presented by Erin Dziedzic.
Session II: Thursday, July 27, 2017, 5:00-6:30 PM
Thursday, June 8, 2017, 5:00 - 8:00 PM
Exhibition Opening and Artist/Curator Panel Discussion, Magnetic Fields
"A conversation on topics of American abstraction (history, themes, and influence) kicks off the opening of the groundbreaking group exhibition Magnetic Fields, featuring artists Candida Alvarez, Lilian Thomas Burwell, and Shinique Smith, moderated by co-curators of the exhibition Erin Dziedzic and Melissa Messina."
Tuesday, September 12, 2017, 6:00 - 7:00 PM
Magnetic Fields Catalogue Launch and Conversation with Valerie Cassel Oliver and Jennie Jones, moderated by co-curator Erin Dziedzic.
|Amy Sherald, High Yella Masterpiece: We Ain't No Cotton Pickin' Negroes, 2011||, oil on canvas.*|
The following artists are featured in Southern Accent: Seeking the American South in Contemporary Art: Terry Adkins, Walter Inglis Anderson, Benny Andrews, Radcliffe Bailey, Romare Bearden, Sanford Biggers, Willie Birch, Rachel
|Barkley L. Hendricks, Down Home Taste, 1971. *|
Southern Accent is accompanied by a fully illustrated catalogue that offers a robust expansion of the investigations raised by works in the exhibition, with text ranging from groundbreaking scholarship to poetry, song lyrics and personal reflections. The catalogue is available for purchase at the Museum Store.
For a full program schedule SEE: Southern Accent Programming
Gallery Talk Series: This monthly gallery talk series uses a different topic as a lens through which to explore one artwork.
Saturday, June 17, 2017, 11:30 AM
Art + Poetry (Join Dr. Kristi Maxwell, Assistant Professor of English at the University of Louisville, to consider how the power of language can also convey a sense of the south in the Southern Accent exhibition.)
Saturday, July 29, 2017, 11:30 AM
Art + Resistance (Join Speed Contemporary Curator Miranda Lash to explore the theme of resistance in the Southern Accent exhibition.)
Saturday, September 23, 2017, 11:30 AM
Art + Photography (Join Lucy Kacir, Community Outreach and Studio Programs Coordinator, to learn about the photographic processes used by artists in the Southern Accent exhibition.)
Sonya Clark: Unraveling
Southern Accent artist Sonya Clark will perform her powerful piece Unraveling.
For this artwork, Clark carefully unravels a confederate flag thread by thread and invites members of the public to join her in this process.
Sunday, October 14, 2017, 2:00-4:00 PM
Amy Sherald, High Yella Masterpiece: We Ain't No Cotton Pickin' Negroes, 2011, oil on canvas. Collection of Keith Timmons, ESQ, CPA. Image courtesy of the artist and Monique Meloche Gallery, Chicago, Illinois. ©Amy Sherald
Barkley L. Hendricks, Down Home Taste, 1971, oil and acrylic on linen, 48"x 48". Courtesy of the Office of the Dean of Students, Cornell University. Gift of Michael Straight to the Willard Straight Hall Collection.