Talks & Conversations

E. Ethelbert Miller, Black Magic and the Black Arts Movement

C. Daniel Dawson, Amiri #10, 1970, gelatin silver print, Collection of Charles Daniel Dawson, courtesy of Virginia Museum of Fine Arts, Richmond L.2023.20.3

C. Daniel Dawson, Amiri #10, 1970, gelatin silver print, Collection of Charles Daniel Dawson, courtesy of Virginia Museum of Fine Arts, Richmond L.2023.20.3

C. Daniel Dawson, Amiri #10, 1970, gelatin silver print, Collection of Charles Daniel Dawson, courtesy of Virginia Museum of Fine Arts, Richmond L.2023.20.3

In honor of the exhibition Photography and the Black Arts Movement: 1955-1985, literary activist E. Ethelbert Miller presents on Amiri Baraka’s Black Magic Poetry 1961-1967 and the influence of the Black Arts Movement on his own life and work.

About the presenter

E. Ethelbert Miller is a Washington, DC-based literary activist and author of two memoirs and several poetry collections. His recent honors include a Congressional Award (2020) from Congressman Jamie Raskin, the Peace and Justice Studies Association’s Howard Zinn Lifetime Achievement Award (2022), and the Furious Flower Lifetime Achievement Award (2023). Miller was also nominated for a Grammy in 2023 for Best Spoken Word Poetry Album.

About Photography and the Black Arts Movement, 1955–1985

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.

Image caption: C. Daniel Dawson, Amiri #10, 1970, gelatin silver print, Collection of Charles Daniel Dawson, courtesy of Virginia Museum of Fine Arts, Richmond L.2023.20.3

You may also like

A sky streaked with azure blue stretches over a gray landscape in this surreal, vertical painting. The sky and land meet halfway up the canvas at a series of short, sharp, charcoal-gray peaks, like canine teeth. Small, diffuse, butter-yellow ovals waft above the peaks. Nine fluffy, cotton-ball like shapes cast narrow shadows across the gray-streaked plane. Three amorphous shapes float over the land closer to us. A ginger-brown, drippy form is to our left, a teal-green, bean-shaped object surrounded with fuzzy white tentacles is to our right, and a peacock-blue, L-shaped drip floats in the distance near the horizon. Thinly painted white and gray lines squiggle or sweep onto the canvas from the left edge. The artist signed and dated the painting in the lower right, “Yves Tanguy 29.”

virtual

Talks & Conversations:  The Art of Looking: Yves Tanguy, The Look of Amber

Registration Required
Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Talks & Conversations:  Finding Awe: Thomas Moran’s Green River Cliffs, Wyoming 

Registration Required
Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Talks & Conversations:  Finding Awe: Thomas Moran’s Green River Cliffs, Wyoming 

Registration Required