{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Landmark exhibition about US art in the Civil Rights era' data-url='/boclips/videos/5c54d4cbd8eafeecae1f59f3' data-video-url='/boclips/videos/5c54d4cbd8eafeecae1f59f3' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nLandmark exhibition about US art in the Civil Rights era\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN London's Tate Modern is hosting a major new exhibition examining modern American art and its relationship with the US Civil Rights Movement. Artists exhibited include Andy Warhol, Barkley Hendrix and William T Williams, including...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN London's Tate Modern is hosting a major new exhibition examining modern American art and its relationship with the US Civil Rights Movement. Artists exhibited include Andy Warhol, Barkley Hendrix and William T Williams, including a homage to Malcolm X that has never been shown in a gallery before. STORYLINEAn exhibition at the Tate Modern in London explores the work of more than 60 artists using the American Civil Rights movement as a starting point.The exhibition features more that 150 works created between 1963 and 1983 and aims to show how American cultural identity was re-shaped throughout this time.Co-curator Zoe Whitley says the idea behind the exhibition is not to show one specific type of aesthetic, nor purely political works.\"One of the guiding principles for this exhibition, in starting with the very big question of, what are the limits or expansiveness of a question or a subject area like \"Black Art,\" is that there's not one answer to the question. And so we use this exhibition and we're led by the artists, and used each artist and let them tell their answer to their version of that question, or allowed them to reject the question out right, and allowing them that space is what matters.\" The exhibition describes unified movements and overtly political works and also showcases the work of other artists who don't consider themselves to be political or representative of the African American community.\"Barkley Hendricks, an artist like the one whose work is shown behind me, said that he never had any intention of speaking for the whole of the black community. His fundamental goal was to be the best painter he could be,\" says Whiteley.Artist Melvin Edwards travelled to the UK to see his work in the exhibition. Edwards sees his own work as part of a visual conversation where the identity of the artist is secondary, but also says that his artwork is a response to the social context in which he, as an African American artist, lives.\"The real reason that there was content directed toward that kind of thing is that it's a reality of our lives within the United States.\"Edwards says the exhibition is an introduction to the work of a wide range of eclectic artists.\"Each of these artists could have handled a room this size, or more. And you'd get a really more comprehensive idea. But at the same time, this is a major effort. I would call it a beginning, of something that began a long time ago.\"One of the exhibition's highlights is Jack Whitten's Homage to Malcolm (1970). The triangular shaped artwork is a tribute to Malcolm X and has never been exhibited before. The exhibition runs until October 22, 2017.London, July 11 20171. TV Screen displaying Malcolm X2. Various of TV screens displaying figures from the US Civil Rights Movement3. Visitors in front of Dana C. Chandler, Fred Hampton's Door 2 (1975)4. Close up of Fred Hampton's Door II (Dana Chandler)5. Co-curator Zoe Whitley in front of Andy Warhol, Muhammad Ali (1978)6. Various of Andy Warhol, Muhammad Ali (1978)7. Various of Carousel Change, Sam Gilliam (1970)8. SOUNDBITE (English): Zoe Whitley, co-curator of Soul of a Nation: Art in the Age of Black Power\"One of the guiding principles for this exhibition, in starting with the very big question of, what are the limits or expansiveness of a question or a subject area like \"Black Art,\" is that there's not one answer to the question. And so we use this exhibition and we're led by the artists, and used each artist and let them tell their version of the answer to that question, or allowed them to reject the question out right, and allowing them that space is what matters.\"9. Various of Raymond Saunders, Jack Johnson (1971)10. Various of Benny Andrews, Did the Bear Sit Under a Tree? (1969)11. SOUNDBITE (English): Zoe Whitley, co-curator of Soul of a Nation: Art in the Age of Black Power\"Barkley Hendricks, an artist like the one whose work is shown behind me, said that he never had any intention of speaking for the whole of the black community. His fundamental goal was to be the best painter he could be. You ask that same question to members of AfriCobra, a collective of artists who were based in Chicago, and they had a manifesto. They felt fundamentally that black art should serve certain purposes, should have bright colours, should be easily legible, should be available in the community. And those are two different ways of seeing the world and seeing how their art can function in the world. Neither is right or wrong. They both coexisted even if they disagreed.\"12. Various of Barkley Hendricks', Icon for My Man Superman (Superman Never Saved any Black People -- Bobby Seale) (1969)13. Various of Wadsworth Jarrell, Black Prince (1971)14. Artist Melvin Edwards in front of his work, Curtain (for William and Peter) (1969)15. Various of Melvin Edwards, Curtain (for William and Peter) (1969)16. SOUNDBITE (English) Melvin Edwards, exhibiting artist:\"As long as human history, we've had art and aesthetics - many kinds, many ways of approaching things. That this exhibition addresses the time period of roughly 1963 - which happens to be the first year of my Lynch Fragments - but the real reason that there was content directed toward that kind of thing is that it's a reality of our lives within the United States.\"20. Various of Melvin Edwards, Lynch Fragments 21. SOUNDBITE (English) Melvin Edwards, exhibiting artist:\"So any subject you talk about in this exhibition, we covered and started dealing with a long time ago. The topic is not a narrow one, but a very large one. And so the aesthetics are extremely broad, varied, and depending on the level of creativity of the individual - they're significant, you know. This is a small show for what I would do, and the reason I say that is because each of these artists could have handled a room this size, or more. And you'd get a really more comprehensive idea. But at the same time, this is a major effort. I would call it a beginning, of something that began a long time ago.\"22. Various of Jack Whitten, Homage to Malcolm (1970)23. 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