When visitors first encountered David Hammons’ works made with greasy bags, barbecue bones and Black hair, Goode Bryant staged an on-the-spot discussion so everyone could share their opinions about Hammons’ art. Looking at newly independent African nations, and understanding an ancestral connection to the continent, the terms ‘Afro-American’ and ‘African American’ also began to take root. Melancholy seeps through its delicate clouds of colour. All those artists were white, and all are enshrined as American icons. I then proposed an exhibition of Black women artists, Black Mirror, which was a show of art, but also featuring black lifestyle, food, music and dance. To a blindingly obvious situation, sometimes you make an obvious reply. Unfortunately, after 14 working days we cannot refund any delivery charges or cover the cost of returning the item. More challenging was if the Tate could offer up a nuanced portrayal of the struggle, balanced in its documentation of the years that followed Martin Luther King’s march on Washington. “Injustice Case” by David Hammons depicts activist Bobby Seale bound and gagged, echoing his abuse in a Chicago courtroom, where Seale was part of the Chicago 8 trialled for conspiracy following a violent protest. Its influence was profound. Taking issue with King’s non-violent position, especially after appalling racist violence later in 1963, many joined in calls for ‘Black Power’. I chose to express my anger by creating The Liberation of Aunt Jemima. I’m intrigued with combining the remnant of memories, fragments of relics and ordinary objects, with the components of technology. BS I consider myself an object-maker. Black Panther co-founder Huey Newton stares fearlessly from one cover, holding rifle in his hand and a spear in another. It solidified my place within the dialogue of abstract painting. Soul of a Nation: Art in the Age of Black Power is at Tate Modern, London, until 22 October. Los Angeles was a city experiencing great racial tension. There are some very powerful pieces of art and you can look at the art and appreciate it, but one should also reflect on the struggles that produced the art and what lessons can be learned from the messages that it sends to the world. The developer for Asa’s Palace used a strip of 3/8 in neoprene rubber attached to a 12-foot-wide 2×4 which made it into a large squeegee. I knew I wanted to make art like that. I always made it a point to speak with John Coltrane whenever the opportunity presented itself. The piece is framed in the Star-Spangled Banner conflating the American justice system and its historic and explicit repression of the black voice. Melvin Edwards began his Lynch Fragments in 1963. Soul of a Nation: Art in the Age of Black Power, supported by Ford Foundation, Terra Foundation for American Art and Henry Luce Foundation, with additional support from Tate Patrons and Tate Members, Tate Modern, 12 July – 22 October. Betye Saar lives and works in Los Angeles. Are we all just as frightened as the other? BETYE SAAR When Dr Martin Luther King Jr was assassinated in 1968, I felt such rage and helplessness. Do these pieces educate or merely add to the propagandist view of black people? Romy, as everyone called him, was important because he gave me the confidence to pursue being an artist. BS I remember the Brockman Gallery and Gallery 32 fondly. Research on the mural movement was carried out by Julia Bailey. The artwork elsewhere reflects a shake-up of society’s institutional racism. The exhibition is curated by Mark Godfrey and Zoe Whitley, with assistant curator Priyesh Mistry, and will tour to Crystal Bridges Museum of American Art, Bentonville, … We currently offer free delivery on orders over £100, using a specialist white glove service within the M25 area. Those paintings were a beautiful example of process. Alvin Loving turned away from painting geometrical shapes, instead cutting up and collaging old paintings and adding strips of cloth, leather and fur, seeing his new works as an affirmative answer to the question ‘is there a black art?’. “Art in the Age of Black Power” is its strap line; evocative words in 2017 amidst race riots and controversy. Boston-based artist Dana Chandler referred to himself as a ‘Black Expressionist’, noting: Black art is a tremendous force for education and political development… I mean to tell it like it is. * Saar made assemblages from racist material she’d gathered, scrutinising historical and present-day racism and fashioning images of proud defiance. DeCarava printed all his images himself, often using very dark blacks and greys, knowing viewers would need to slow down to look closely at his works. The exhibition is curated by Mark Godfrey and Zoe Whitley, with assistant curator Priyesh Mistry, and will tour to Crystal Bridges Museum of American Art, Bentonville, Arkansas, and the Brooklyn Museum, New York. Soul of a Nation Art in the Age of Black Power A review . One of your best-known and most controversial works, which raises many potent and continuing questions about gender and race, is The Liberation of Aunt Jemima 1972. This exhibition does not destroy the canon, however. In the AfriCOBRA manifesto of 1970, Donaldson summed up their collective aesthetic, and showed how AfriCOBRA departed from American and European models of pop art, realism and abstraction. Superman S-Shield © & ™ DC Comics. I realised there was a community of African Americans who made photographs, often as artists, and began to seek them out. Soul of a Nation shines a bright light on the vital contribution of Black artists to a dramatic period in …, - Linked to this was another question: which viewers should they address? , ETC. You should be able to look at my work and see me. It was important to me that the first showing of those photographs be in the community in which they had been made. You should be able to look at me and see my work. The establishment could no longer deny the presence of an African American abstract painter. Roy DeCarava was one of the first Black photographers to establish a successful career as an independent artist rather than as a photojournalist or studio portraitist. Joe Overstreet created gridded canvases strung up away from the wall, recalling, for him, a history of lynching, but defiant in their colourful optimism. Figurative art doesn’t represent blackness any more than a non-narrative media-oriented kind of painting, like what I do. An evening for 15-25 year olds to see the Soul of a Nation exhibition, curated exclusively by Tate Collective London Well, not entirely. Two years later, after the Watts Rebellion, Noah Purifoy began collecting materials from the streets, using them to create constructions. Through spanning two decades Soul of a Nation captures the work of 60 artists, most of whom will be relatively unknown. They have something in common with Rauschenberg but more with the Watts Towers, the masterpieces of outsider art built by Simon Rodia that soar giddily over LA. The group functioned as a discussion forum and its members showed their work together without ever putting forward a singular model for Black photography. In a climate that is so politically charged, the Tate Modern releases its Soul of a Nation exhibition, marking two decades of black activism and art. I started working on the photographs that became Harlem, USA in 1975. The first time I ever saw a considerable number of pictures made by Black photographers was in the Black Photographers Annual. Fortunately, because Roy DeCarava was at the centre of the New York black photography community, the notion of a Black aesthetic that those of us under his influence came to embrace was a complex one that encompassed not only the centrality of the black subject, but also the ability to visualise that subject through a rigorous engagement with both the formal and material language of picture-making. There are powerful art pieces that clearly shows the struggles of people in a society full of of prejudice and even hatred towards people based on the color of their skin. Courtesy of the Artist and Roberts & Tilton, Los Angeles, California.

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