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Rev. O. Florian Jenkins working on the “Tribes” panel, about 1972. Courtesy of the artist.

Alumni Voices: Florian Jenkins and

The Life of Malcolm X

Witness

August 30, 2014, through December 14, 2014
Art and Civil Rights in the Sixties

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  • Benny Andrews, Witness

    Benny Andrews, Witness, 1968, oil on canvas with painted fabric collage. © Estate of Benny Andrews / Licensed by VAGA, New York, NY. Photo by Joshua Nefsky; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

    Benny Andrews

    Witness

    1968

    Oil on canvas with painted fabric collage.

    Courtesy of Michael Rosenfeld Gallery LLC, New York, NY.

    © Estate of Benny Andrews / Licensed by VAGA, New York, NY. Photo by Joshua Nefsky.

  • Barkley L. Hendricks, Lawdy Mama

    Barkley L. Hendricks, Lawdy Mama, 1969, oil and gold leaf on canvas. The Studio Museum in Harlem, Gift of Stuart Liebman, in memory of Joseph B. Liebman, 83.25. © Barkley L. Hendricks. Photo: Courtesy of the artist and Jack Shainman Gallery, New York
     

    Barkley L. Hendricks

    Lawdy Mama

    1969

    Oil and gold leaf on canvas.

    The Studio Museum in Harlem, Gift of Stuart Liebman, in memory of Joseph B. Liebman, 83.25.

    © Barkley L. Hendricks. Photo: Courtesy of the artist and Jack Shainman Gallery, New York.

  • Jacob Lawrence, Soldiers and Students

    Jacob Lawrence, Soldiers and Students, 1962, opaque watercolor over graphite on wove paper. Hood Museum of Art, Dartmouth College: Bequest of Jay R. Wolf, Class of 1951; W.976.187. © 2014 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York
     

    Jacob Lawrence

    Soldiers and Students

    1962

    Opaque watercolor over graphite on wove paper.

    Hood Museum of Art, Dartmouth College: Bequest of Jay R. Wolf, Class of 1951; W.976.187.

    © 2014 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.

  • Joe Overstreet, The New Jemima

    Joe Overstreet, The New Jemima, 1964–1970 acrylic on fabric over plywood construction. The Menil Collection, Houston. Photograph by Paul Hester.
     

    Joe Overstreet

    The New Jemima

    1964–1970

    Acrylic on fabric over plywood construction.

    The Menil Collection, Houston. Photograph by Paul Hester.

  • Jack Whitten, Birmingham 1964

    Jack Whitten, Birmingham 1964, 1964, aluminum foil, newsprint, stocking, and oil on plywood. Collection of the artist, courtesy of the artist and Alexander Gray Associates, New York. © Jack Whitten
     

    Jack Whitten

    Birmingham 1964

    1964

    Aluminum foil, newsprint, stocking, and oil on plywood.

    Collection of the artist, courtesy of the artist and Alexander Gray Associates, New York.

    © Jack Whitten.

  • Edward Kienholz, It Takes Two to Integrate (Cha, Cha, Cha)

    Edward Kienholz, It Takes Two to Integrate (Cha, Cha, Cha), 1961, painted dolls, dried fish, glass in wooden box. Collection of David R. Packard and M. Bernadette Castor, Portola Valley, CA © Kienholz. Photo: Courtesy of L.A. Louver, Venice, California
     

    Edward Kienholz

    It Takes Two to Integrate (Cha, Cha, Cha),

    1961

    Painted dolls, dried fish, glass in wooden box.

    Collection of David R. Packard and M. Bernadette Castor, Portola Valley, CA.

    © Kienholz. Photo: Courtesy of L.A. Louver, Venice, California.

  • David Hammons, The Door (Admissions Office)

    David Hammons, The Door (Admissions Office), 1969, wood, acrylic sheet, and pigment construction. California African American Museum, Los Angeles, Collection of Friends, the Foundation of the California African American Museum. © David Hammons
     

    David Hammons

    The Door (Admissions Office)

    1969

    Wood, acrylic sheet, and pigment construction.

    California African American Museum, Los Angeles, Collection of Friends, the Foundation of the California African American Museum.

    © David Hammons.

  • Jae Jarrell, Urban Wall Suit

    Jae Jarrell, Urban Wall Suit, ca. 1969, sewn and painted cotton and silk, two-piece suit. Brooklyn Museum, Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange; Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.16. © Jae Jarrell
     

    Jae Jarrell

    Urban Wall Suit

    ca. 1969

    Sewn and painted cotton and silk, two-piece suit.

    Brooklyn Museum, Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange; Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.16.

    © Jae Jarrell.

  • Jeff Donaldson, Wives of Shango

    Jeff Donaldson, Wives of Shango, 1969, watercolor with mixed media on paper. Brooklyn Museum, Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange; Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.13. © Jameela K. Donaldson
     

    Jeff Donaldson

    Wives of Shango

    1969

    Watercolor with mixed media on paper.

    Brooklyn Museum, Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange; Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.13.

    © Jameela K. Donaldson.

Location

Temporary Exhibitions, Hood Museum of Art second-floor galleries

About

Witness: Art and Civil Rights in the Sixties offers a focused look at painting, sculpture, graphics, and photography from a decade defined by social protest and American race relations. In observance of the fiftieth anniversary of the Civil Rights Act of 1964, this exhibition considers how sixty-six of the decade's artists, including African Americans and some of their white, Latino, Asian American, Native American, and Caribbean contemporaries, used wide-ranging aesthetic approaches to address the struggle for racial justice.

This exhibition is curated by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum, and Kellie Jones, Associate Professor in the Department of Art History and Archaeology at Columbia University.

Witness: Art and Civil Rights in the Sixties is organized by the Brooklyn Museum and made possible by the Ford Foundation.

The exhibition’s presentation at the Hood Museum of Art was generously supported by Claire Foerster and Daniel S. Bernstein, Class of 1987; Kate and Yaz Krehbiel, Class of 1991, Thayer 1992; and the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund.

Exhibition Curator

Curated by Teresa A. Carbone / Kellie Jones

Related Educator Resource

Witness: Art and Civil Rights in the Sixties

Additional Information

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Exhibition subject: Modern & Contemporary ArtUnited States & Canada