Soul of a Nation to Open at de Young Museum This November

Mar 26, 2019

Painting of group of people dressed in white.

Barkley L. Hendricks, What's Going On, 1974. oil, acrylic, and magna on cotton canvas. © Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New York.

Art Reflects the Strength, Solidarity, and Struggle of Black Artists in America

Soul of a Nation: Art in the Age of Black Power
de Young \ November 9, 2019 - March 15, 2020

SAN FRANCISCO (March 26, 2019)—The internationally acclaimed exhibition Soul of a Nation: Art in the Age of Black Power will travel to San Francisco this fall. Celebrating the works that African American artists created during two pivotal decades in American history (1963–1983), the exhibition—organized by Tate Modern, London—examines the very purpose of art and the role of artists in society. Featuring more than 150 works by over 60 artists, the de Young museum presentation will uniquely include works closely connected to the San Francisco Bay Area. Soul of a Nation captures a turbulent time when race and identity were central issues in American society, much as they continue to be today.

“The artists featured in Soul of a Nation were on the front lines of creating social and political change,” says Thomas P. Campbell, Director and CEO of the Fine Arts Museums of San Francisco. “Their work changed the course of the art historical canon, and with this exhibition we continue to tell a truer, more holistic story of what American art is. The work is as relevant today as it was when created. It is my distinct honor to welcome this incredibly important exhibition to the de Young museum in San Francisco and introduce these artists to the next generation of changemakers.”

Commencing in 1963, the year of the March on Washington and in the height of the Civil Rights Movement, the exhibition examines the impact of key historical events, and diverse cultural influences including music and literature. Galvanized by the spirit of the times, and the struggle for equality and justice, many artists created images that promoted individual and collective strength, solidarity, and resistance. The call for Black Power generated powerful representational images of political leaders such as Wadsworth Jarrell’s Black Prince (1971) [Malcolm X], and John Outterbridge’s About Martin (1975) [Dr. Martin Luther King, Jr.], who were fighting for equality and justice. Reclaiming the African roots of abstraction from European and American modernists, artists, such as William T. Williams and Joe Overstreet focused primarily on color, form, and concept. Photographers such as Roy DeCarava depicted the diversity, complexity, and beauty of ordinary African Americans, trying to live their lives in the midst of a racist society. Together their art changed the face and future of America.

“The powerful and provocative artworks on view in Soul of a Nation offer eloquent testimony regarding the singular power of art to confront might with right, to empower individuals and communities, and to inspire cultural pride and solidarity,” notes Timothy Anglin Burgard, Curator in Charge of American Art at the Fine Arts Museums of San Francisco. “The core messages and meanings of these historical works retain their contemporary relevance and resonance, showing how far the nation has progressed, but also how many important issues still remain unresolved.”

The artists represented in Soul of a Nation worked all over the United States and across multiple mediums, including figurative and abstract painting, prints, photography, assemblage, collage, sculpture, street murals, performance, and even custom clothing. The de Young’s presentation will also include an expanded selection of works by African American artists working in the San Francisco Bay Area. Works with Bay Area connections include Emory Douglas’s lithographs with cutting social commentary for The Black Panther newspaper (late1960s / early 1970s), and Wadsworth Jarrell’s Revolutionary (1972), a kaleidoscopic portrait of Angela Davis.

Additional works range from Betye Saar’s found-object collages such as Ten Mojo Secrets (1972) to Melvin Edwards’s twisted metal “Lynch Fragment” sculptures (1960s). Norman Lewis’s enormous Processional (1965) evokes the civil rights march from Selma to Montgomery, Alabama. Elizabeth Catlett’s wooden sculpture Black Unity (1968) takes the shape of a giant Black Power fist. Dana C. Chandler Jr.’s Fred Hampton’s Door 2 (1975) commemorates the murder of Black Panther Fred Hampton with a bullet-ridden door. Faith Ringgold’s American People Series #18: The Flag is Bleeding (1967) features a bleeding American flag with black and white figures in the background.

Additional artists represented in the exhibition include Benny Andrews, Romare Bearden, Dawoud Bey, Frank Bowling, Roy DeCarava, Sam Gilliam, David Hammons, Barkley L. Hendricks, Alvin Loving, John Outterbridge, Joe Overstreet, Noah Purifoy, Martin Puryear, Alma Thomas, Charles White, and Jack Whitten.

Soul of a Nation: Art in the Age of Black Power will be on view at the de Young museum from November 9, 2019, through March 8, 2020. The exhibition is curated by Mark Godfrey, Senior Curator, International Art and Zoe Whitley, Curator, International Art, Tate Modern. The de Young presentation is curated by Timothy Anglin Burgard, Curator in Charge of American Art and Lauren Palmor, Assistant Curator of American Art, at the Fine Arts Museums of San Francisco.

In Detail
Soul of a Nation is organized into ten sections, grouped by movements, geography, galleries, ideas, collectives, and the overall exploration of what it meant to be a Black artist from 1963 to 1983.

The exhibition takes the influential Spiral collective as its point of departure. In 1963 a group of 15 artists, (founded by Romare Bearden, Charles Alston, Norman Lewis, and Hale Woodruff), convened to discuss whether a collective “Negro” art aesthetic could exist. Although the group did not agree on a shared aesthetic, they mounted a single group exhibition in 1965, agreeing to show only works in black and white. This gallery honors the work of the Spiral collective, featuring pieces related to First Group Showing: Works in Black and White, including Lewis’s work America the Beautiful, a haunting image of black-and-white figures that, upon closer inspection, reveals figures of the menacing hoods worn by members of the Ku Klux Klan.

The next gallery, “Black Light,” examines the Black aesthetic within photography. Notably, Roy DeCarava, one of the first Black photographers to establish a successful career as an independent artist rather than photojournalist, pioneered the use of shadow and dark tones. As seen in works such as Across the street, night, New York and Five men 1964, DeCarava finds a synthesis between his velvety style and subject matter, showcasing the everyday lives of Black Americans.

In 1971, two art preparators at the Los Angeles County Museum of Art (LACMA), Claude Booker and Cecil Fergerson, formed the Black Arts Council, which pressured LACMA to organize exhibitions and programs for Black art. The first exhibition resulting from their internal lobbying was titled Three Graphic Artists. This exhibition featured the work of three artists in Los Angeles, including painter and muralist Charles White, sculptural and installation artist David Hammons, and mixed-media assemblage artist Timothy Washington. White, Hammons, and Washington each made their own remarkable contributions to the development of printmaking in America, and their works are on view in the third gallery of Soul of a Nation.

The “Los Angeles Assemblage” gallery illustrates the profundity of artistic responses to the Watts Rebellion (widely known as the Watts Riots), which broke out on August 11, 1964. After a White California Highway Patrol officer pulled over Marquette Frye, a young Black motorist, tensions mounted erupting into five days of destructive violence. After the riots ceased, many artists took it upon themselves to restore their community through public art projects, as seen in the works of Noah Purifoy and Melvin Edwards, both of whom incorporated detritus and found objects into their artistic responses to the event.

In this same gallery, we spotlight 11 works by the prolific and pioneering artist Betye Saar. Of note is one of Saar’s most renowned pieces, The Liberation of Aunt Jemima. Saar created this work specifically for an exhibition at Berkeley’s Black cultural center, Rainbow Sign (led by the charismatic impresario Mary Ann Pollar), for an exhibition titled Black Heroes. The assemblage piece features a small box that contains an “Aunt Jemima” mammy figure wielding a gun. In her first overtly political work, Saar repositions a Black stereotype—a product of America’s deep-seated history of racism—as an armed warrior. An iconic piece in both Black and feminist art, Black Panther Party for Self-Defense leader Angela Davis said, “This [work] is where Black feminism began.”

Activist Stokely Carmichael first pronounced the rallying cry of “Black Power!” in a speech at the Mississippi March Against Fear in 1966, immediately becoming a motto, a call to arms, and a declaration of the refusal to tolerate racial violence. The next gallery, titled “Black Power,” questions the idea of what it means to be both Black and American. Key pieces in this room include Dana C. Chandler’s Fred Hampton’s Door 2, which highlights the assassination of Chicago Black Panther Party leader Fred Hampton by the FBI, as well as Elizabeth Catlett’s mahogany fist Black Unity, an homage to the raised Black Power fist at the 1968 Mexico City Olympics. (This piece was also exhibited at Rainbow Sign in Berkeley.)

In this gallery, you’ll also see the work of Emory Douglas, the minister of culture for the Black Panther Party for Self-Defense and a Bay Area native. Known for his poster work, Douglas developed a singular, instantly recognizable style through thick black outlining, a strategic use of bold color, and collage elements that tackled the themes of Black solidarity, police brutality, and poverty.

The Organization of Black American Culture was a group of Black artists from the South Side of Chicago who came together in 1967 to support the Black liberation struggle. One of their most significant projects was the Wall of Respect, an outdoor mural on the South Side of the city. Intended to inspire the community by featuring images of Black heroes, the wall served as a gathering place for the community and inspired a wave of murals in other major American cities. The “Black Power” gallery features a slideshow of murals from cities across the United States, including Chicago’s Wall of Respect, and a photograph of artist Bay Area artist Cleveland Bellow posing with his billboard in Oakland.

AfriCOBRA (the African Commune of Bad Relevant Artists) formed in Chicago in 1968 and is the focus of the next gallery. Many of the group’s members had been involved in painting the Wall of Respect, and their conversations turned toward whether a uniquely Black art movement could be based on a shared sensibility. An aesthetic style of bold colors and asymmetry is shown in pieces like Revolutionary (Angela Davis) by Wadsworth Jarrell, which celebrates a Bay Area icon of the Black Power movement.

The gallery themed “Black Heroes” is made up of an array of role models throughout the Black community, like Marie Johnson Calloway’s School Crossing Guard, celebrating an everyday hero who ensures that children get to school safely. Another unique addition to the de Young’s presentation of Soul of a Nation is Bay Area artist Phillip Lindsay Mason’s The Hero, which portrays fictional Black superhero wearing a chain around his waist, alluding to the broken chains of slavery or bondage and reclaiming the symbol as his own power. Still another special addition to the presentation is a Mason piece titled Maiden Voyage, which likely depicts Rainbow Sign’s Mary Ann Pollar. In it, Pollar holds a candle as a beacon of hope as she wears a garment with a rainbow hem, alluding to her pioneering community center.

While some artists harnessed the political power of figurative imagery in service of urgent identity politics, others saw abstraction as a means for impactful Black expression. This tension is explored in the second-to-last gallery of Soul of a Nation, in pieces such as William T. Williams’s Hawks Return and Jack Whitten’s Homage to Malcolm.

As Black artists were rarely given the same space and attention as White artists in the 1960s and 1970s, galleries such as Just Above Midtown (JAM) provided a platform for artists who struggled to find exhibition opportunities in mainstream galleries. Established in 1974 by 23-year-old Linda Goode Bryant, JAM demonstrated how art spaces run by Black artists could represent their own people and communities. The final room of the exhibition is dedicated to JAM’s lasting influence, which still reverberates through art communities across the United States. Bryant’s call to action, energy, and community support serves as a lasting legacy of Soul of a Nation: Art in the Age of Black Power 1963–1983.

Many Bay Area artists and connections appear throughout the de Young’s presentation in Soul of a Nation. These works will be recognized with a seven-pointed star featured on extended object labels. The design, with its rainbow of colors, pays homage to Rainbow Sign.

Outside the Galleries

Hellman Hallway
As you come to Hellman Hallway, leading to the entrance of the exhibition, a series of photographs invites the visitor to travel back to the winter of 1968–1969 with A Photographic Essay on the Black Panthers, a landmark exhibition of photographs taken by Ruth-Marion Baruch and Pirkle Jones that documented the daily activities of the Black Panther Party in the summer of 1968. Baruch had initially approached then-director of the de Young Jack McGregor with her desire to photograph the Black Panthers in order “to present the feeling of the people.” After connecting directly with Kathleen Cleaver, communications secretary of the Black Panther Party, Baruch and Jones were permitted to photograph events, lectures, meetings, and daily activities throughout the summer of 1968. The resulting exhibition opened at the de Young museum on December 7, 1968, and remains one of the most popular exhibitions in the museum’s history.

Eighteen of the original images by Baruch and Jones will return to the de Young museum in Soul of a Nation: Art in the Age of Black Power 1963–1983, lining the walls of Hellman Hallway. In addition to these images, photographs of visitors viewing A Photographic Essay on the Black Panthers at the de Young in 1968 will also be on view.

Media Room
At the end of Hellman Hallway is the de Young’s media room, screening the movie Take This Hammer by Richard O. Moore, and featuring American novelist, playwright, and activist James Baldwin. The film chronicles Baldwin’s 1963 visit to San Francisco, in which the writer meets with members of the local Black community in the early 1960s. Take This Hammer shows Baldwin’s intent on discovering what he called “the real situation of Negroes in the city, as opposed to the image San Francisco would like to present.” The film is 59 minutes long and will play on a loop. \ @deyoungmuseum

Visiting \ de Young
Golden Gate Park, 50 Hagiwara Tea Garden Drive, San Francisco. Open 9:30 a.m.–5:15 p.m. Tuesdays–Sundays. Open select holidays; closed most Mondays.

The de Young is offering free admission to Soul of a Nation, as well as the rest of the museum, for all visitors on four Saturdays throughout the run of the exhibition. Please join us on one of the dates below to see the exhibition for free.

  • November 9, 2019 (opening day)
  • December 14, 2019
  • January 11, 2020
  • February 8, 2020

More information on all programs and partnerships listed above is available on our website.

Exhibition Organization
This exhibition is organized by Tate Modern, London in collaboration with the Fine Arts Museums of San Francisco; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Brooklyn Museum, New York; The Broad, Los Angeles; and Museum of Fine Arts, Houston. Presenting Sponsor: Diane B. Wilsey. Lead support is provided by the William K. Bowes, Jr. Foundation and the Phyllis C. Wattis Fund for Exhibitions. Major support is provided by the Ford Foundation and Kaiser Permanente. Generous support is provided by Lorna Meyer Calas and Dennis Calas, Marcia and John Goldman, Pirkle Jones Fund, and The Diana Dollar Knowles Foundation. Additional support is provided by Dorothy Saxe. In-kind support is provided by Alaska Airlines.

Join us on a Free Saturday!
Honoring the incredible legacy of Black Power in the San Francisco Bay Area, the de Young museum is proud to announce a line-up of programming and partners tied to celebrating the landmark exhibition Soul of a Nation: Art in the Age of Black Power 1963–1983. Featuring renowned artists, performers, and civic leaders, such as director Boots Riley, Black Panther Ericka Huggins and legendary hip-hop group Souls of Mischief, these programs welcome special guests from San Francisco and beyond to bring Black Power to the forefront of our winter programming season. Read the full release.

About the Fine Arts Museums of San Francisco
The Fine Arts Museums of San Francisco, comprising the de Young in Golden Gate Park and the Legion of Honor in Lincoln Park, are the largest public arts institution in San Francisco.

The de Young originated from the 1894 California Midwinter International Exposition in Golden Gate Park and was established as the Memorial Museum in 1895. It was later renamed in honor of Michael H. de Young, who spearheaded its creation. The present copper-clad landmark building, designed by Herzog & de Meuron, opened in 2005. Reflecting an active conversation among cultures, perspectives, and time periods, the collections on display include American painting, sculpture, and decorative arts from the 17th to the 21st centuries; arts of Africa, Oceania, and the Americas; costume and textile arts; and international modern and contemporary art.

Media Contacts
Miriam Newcomer, Director of Communications \ \ 415.750.3554

Shaquille Heath, Communications Associate \ \ 415.750.3603