The National Gallery of Art in Washington, D.C., has opened the first exhibition to comprehensively examine photography's pivotal role in the Black Arts Movement, a cultural revolution that celebrated Black history, identity, and beauty from 1955 to 1985. The groundbreaking exhibition, titled "Photography and the Black Arts Movement, 1955-1985," showcases approximately 150 works, many of which have rarely or never been displayed publicly before.
This landmark exhibition focuses specifically on how American and Afro-Atlantic diaspora photographers contributed to creating a distinct Black visual culture and identity during a transformative period in history. The Black Arts Movement, which developed alongside the civil rights and international freedom movements, had cultural influence comparable to the Harlem Renaissance and fundamentally shaped American artistic expression.
The exhibition demonstrates how photographers became central figures in documenting and promoting social change during the mid-20th century. Featured works include Alex Harsley's "Me Two, on Wall Street" from 1965, James Barnor's "Drum Cover Girl Erlin Ibreck, Kilburn, London" from 1966, Ming Smith's "Sun Ra Space II, New York, New York" from 1978, and Ernest C. Withers' iconic "I Am A Man, Sanitation Workers Strike, Memphis, Tennessee" from March 28, 1968. The collection also includes Gordon Parks' "Ethel Sharrieff in Chicago" from 1963 and other significant works that capture the spirit of the era.
"Photography and photographic images were crucial in defining and giving expression to the Black Arts Movement and the civil rights movement," explains Deborah Willis, guest co-curator and university professor who chairs the department of photography and imaging at the Tisch School of the Arts and serves as founding director of the Center for Black Visual Culture at New York University. "By merging the social concerns and aesthetics of the period, Black artists and photographers were defining a Black aesthetic while expanding conversations around community building and public history."
Willis emphasized the lasting impact of these artists and their subjects, noting that "they helped to preserve compelling visual responses to this turbulent time, and their images reflect their pride and determination." The exhibition highlights how these artists used photography to engage communities and promote self-representation, establishing approaches to socially engaged art that continue to influence contemporary practices today.
The comprehensive collection includes works by notable photographers such as Barkley L. Hendricks, whose "Self-Portrait with Red Sweater" from 1980 represents the movement's emphasis on Black identity and pride. Alex Harsley's "Nite Meetings" from 1959, Doris A. Derby's documentation of a "Black-owned Grocery Store" in Mileston, Mississippi from 1968, and Kwame Brathwaite's "Untitled (Portrait, Reels as Necklace)" from around 1972 further illustrate the diverse approaches photographers took to document and celebrate Black life and culture.
The exhibition also features powerful historical documentation, including images of Dr. and Mrs. Martin Luther King singing in the rain during the March from Selma to Montgomery in 1965, Bruce W. Talamon's portrait of Marvin Gaye in Topanga Canyon from 1979, and John Simmons' "Love on the Bus, Chicago, Illinois" from 1967. These works collectively demonstrate how photographers captured both intimate moments and major historical events that defined the civil rights era.
Significantly, the exhibition extends beyond American borders to include works from Africa, the Caribbean, and Great Britain, situating the Black Arts Movement within a broader global context of social, political, and cultural exchange. This international perspective reveals how the movement resonated across continents and influenced artists worldwide who were addressing similar themes of identity, representation, and social justice.
The presentation reveals the cultural dialogue among writers, musicians, filmmakers, photographers, and visual artists of diverse backgrounds who addressed social and political change, the struggle for civil rights, and the rise of the Pan-African movement through their artistic work. Photographers are positioned as central figures in this presentation, showing how visual documentation and artistic expression fundamentally shaped the movement's identity and lasting legacy.
"Photography and the Black Arts Movement, 1955-1985" will remain on view in the West Building of the National Gallery of Art through January 11, 2026. Following its run in Washington, D.C., the exhibition will travel to venues in California and Mississippi, allowing broader audiences to experience this important exploration of photography's role in one of America's most significant cultural movements.
