Introduction to Humanities Museum Project

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Shallon Brown Doc. Tai Houser HUM 1101 21 April 2019

NARRATIVE: THE CIVIL RIGHTS MOVEMENT IN

ART Art is an expressive method that captures the viewpoint and influences of the artist. It is used in a variety of effective ways, especially in recording the historical past. Present day the reader can analyze the composition of an artist’s work and when full understanding is achieved, to connect with its intended meaning. However, the meaning may vary among individuals. Art and history have worked together to illustrate the worldview of an artist as seen through his eyes. When text is added to an artwork, the interpretation of the image changes.

1. During the civil rights, equal educational opportunities were not available among persons living within the United States especially African Americans. These images depicted the scenes at that time.

Supporting detail - Fig. 1. Norman Rockwell, The Problem We All Live With 1964.

i. Additional support/idea - On first look, the painting may merely illustrate a black child walking among adults in the slumps. The words “nigger” and “KKK” can be seen on the wall; what appears to be a tomato splattered is seen but appears old since it is on the wall and not the figures in the painting. Interpreting the image, we note the attire of the child and Marshall’s are not modern and reflects the year 1964. Consistent with images we have seen in the past, through reproductive television programs and other media communications. The body language demonstrates determination more so for the child through her clenched fist and assumed stride. The white color of her uniform signifies peace, purity and a change in segregation. This is significant because white not only represents peace but “new beginnings…and is a combination of all colors” representing equality (Larocco). The faces of the men are not included but the color of their skin is; neither is she being treated hostile. The image provokes the thought on why the child is being escorted, where was she going, the location, time in history and its significance?

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ii. Additional support/idea - Berger wrote on the implication of words when added to an image. Understanding this image requires the reader to be aware of the negative connotations in using “nigger” and “KKK” throughout history. Background knowledge of the author is also helpful in understanding the painting. Norman Rockwell was an artist who painted throughout his lifetime. Starting from 1963 his paintings illustrated his “concern and interest in civil rights, America’s war on poverty, and the exploration of space (Norman).” Considering the artist's style and completion year of 1964. This justifies the representation of the educational challenges faced by African American during civil rights (Norman Rockwell). Klansmen also fought to keep segregation, they bombed many homes and churches during this time. Rockwell’s inspiration came from Ruby Bridges, “the six-year-old girl who helped to desegregated an all-white New Orleans elementary school in 1960.” Also, all students who had to be escorted to school due to “violence and riots by white mobs” who opposed desegregation (Duncan).

Supporting detail – Fig. 2 Jacob Lawrence The Library 1968

i. Additional support/idea Initial observation brings attention to the various colors used throughout the painting and their associated meaning. Although the African American cultural holiday Kwanza was not introduced until 1966, the painting bares similar representation through its bold colors and an African theme. It is evident color symbolism plays a vital role in understanding the painting. Black usually has a negative connotation but also signifies power, authority, and elegance. Note the man standing in the front of the painting. Red is the color of passion, energy, war, strength, and determination. The contrast between the shades of brown suggests stability and harvest. Blue symbolizes depth, trust, wisdom, intelligence, and devotion. The olive green represents peace. The floor appears to be gold in color which represent prestige, wisdom, and wealth (Brunts). There is a semblance of unity in the colors and shades of brown used that matches the color of their skin, representing power and a desire to educate one's self as everyone stares at a book.

ii. Additional support/idea - For further understanding, the historical context in which the painting is set and the artist must be considered. Described as a "social realist' Jacob Lawrence documented African American experience in several art series. The series, “life in Harlem and the Civil Rights Movement of the 1960s,” was influenced by his black family and the community in which he grew up (Jacob). The timeline of this painting was during the Civil Rights Movement and his trips to Africa. Following the 1954 Supreme

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Court’s ruling to end segregation in schools, many persons (whites) were not happy and black children continued to be victimized when attending school (Lyons). The figures are all shades of black and brown representing African Americans drive to succeed through education. The added text informs us of the possible location depicted being the 135th Street Library, located in Harlem. This library was the first to house a collection of “African American literature, history and prints opened in 1925 (Jacob).” The library was a haven for African Americans to empower themselves through education as black history was not taught in schools. The library is now the Schomburg Center for Research in Black Culture. This painting provides a connection between the importance of the library in providing African-Americans with educational opportunities during the Civil Rights Movement.

2. During the Civil Right Movement, African Americans faced social and political inequality in comparison to whites. Artists have worked to capture this period in their paintings.

Supporting detail – Fig. 3 Jacob Lawrence Bar and Grill 1941 Jacob Lawrence i. Additional support/idea – With prior knowledge of the influence African-American

culture had on Jacob Lawrence’s artwork will impact the interpretation of this painting. Exploring the compositional unity of the painting, there is a partition in the bar, diving the customers based on the color of their skin. The fan, ashtray, bartender and white customers are on one side and colors on the other. They have separate entrances and utensils a difference in the service being provided can be seen. For better understanding reading into the details of the painting is important and historical knowledge of life in 1941.This painting indicates the presence of segregation between African Americans and whites, as they were given separate areas in public locations. What Lawrence has done, is to show the cultural dynamics within this time. No signs are present but using color in his art, we can decipher the difference in the race and see the restriction through the barrier.

ii. Additional support/idea – Created in 1941 after his move to New Orleans Lawrence experienced the reality of the Jim Crow law which enforced racial segregation in the South. The exhibition label attached to the painting notes the vantage point emphasizing the “artificiality of the two separate worlds” in New Orleans (Lawrence). The label confirms the implication of segregation being present because of the Jim Crow laws. This illustrates a striking contrast to how African-Americans were treated in comparison to the whites.

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Supporting detail – Fig 4. Norman Lewis Evening Rendezvous 1962

i. Additional support/idea – Initial observation of the painting appears to be a remake of the American flag through stick figures in white. Understanding Norman Lewis’s interest in civil rights forces us to question the details of the painting. Further observation indicates the figures are carrying sticks, flags, possible weapons. 0n their head, is a triangle, a representation of the Ku Klux Klan. Laws were now in place against Klan violence yet they had minimal effect on the group (Ku Klux Klan). As the title suggests, the scene is set in the night, coupled with the weapons indicates defiance and secrecy as they appear to be conducting a meeting. To the top left of the painting, there are three figures that appear to be hanging which was one of their methods of attack (see fig. 5). They were known to victimize both black and white activist and unlike previous years were met with “counter-protesters” and law enforcement monitoring their activities, due to desegregation laws. The fading flag represents existence but also their loss of power (Ku Klux Klan).

ii. Additional support/idea – The exhibition label creates a better understanding and confirms the figures are Klansmen. For complete interpretation, understanding of their role in history is necessary. Being one of the oldest hate groups, they attacked African- Americans, Catholics, immigrants, and other groups while preaching patriotism. They campaigned for violence, including lynching and for the Jim Crow laws to remain (Ku Klux Klan). With clarity on who the Ku Klux Klan is, the secrecy of the scene makes complete sense to be planning another attach or holding a meeting. While others fought for civil rights they opposed equality among non-white Americans. The Klansmen took life, happiness, and freedom from people. They were a mockery to America, hence the fading of the flag and the fire in the middle.

3. Throughout history women have been involved in activism for progression, individualism, and equality among men. In doing so, they have made significant contributions to the world. These next pieces of art require the reader to consider how women have evolved and their role in the Civil Rights Movement.

Supporting detail – Fig. 6 Wadsworth A. Jarrell Revolutionary 1972

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i. Additional support/idea – The painting portrays a woman singing, her significance is currently unknown. Similar to The Library, bold colors are used throughout the image indicating color symbolism. The pink symbolizes courage, intelligence, and passion as women had become vocal and were leading instead of being led. Extended from her mouth is the power of determination in the words that surrounds her, ultimately creating the painting. The following words and phrases are depicted coming from her mouth. "Revolution, Resist, Black, Black is Beautiful and I have given my life to the struggle If I have lost my life in the struggle that is the way it will be.” The choice of colors and words are a representation of feminism and uplifting of blacks. The additional text seeks to provide information on who the artist is and the Revolutionary female.

ii. Additional support/idea - Created by Wadsworth Jarrell, the image is of civil rights activist Angela Davis, known to be outspoken and a rebel of her time. Davis fought for women’s rights and to end poverty and oppression which aligns the choice of words used throughout the painting (Davis). Another noteworthy point is the connection to what she is wearing and the artist. Jerrell was the co-founder of the Coalition of Black Revolutionary Artists (COBRA) along with his wife Jae and other artists. The colors used represent the AfriCOBRA of which all three were associated and advocated for civil rights. Like Berger’s point on recreation, the painting was a replica of the Revolutionary suit designed by Jae in early 1969 for AfriCOBRA (Brooklyn Museum). The painting has become a reproduction of an outfit creating a new meaning to what it was and now is, both influenced by women activists during the civil rights.

Supporting detail – Fig. 7 B4- Rosa Here I Stand by Najee Dorsey.

i. Additional support/idea – It is very easy to take a quick look and assume this painting reflects the famous civil rights activist Rosa Parks. Yet, close attention to the title, sign and the youthful features of the girl is an indication further thought should be given to the painting’s composition. Her sign displays ‘B4 -7053’ if the reader is not familiar with Rosa Parks these numbers may have a different meaning or none. Again, color is important as seen in the contrasting shade of blackness to the skin. In the background are a bus and a building. The blooms of the flowers signify spring and growth. Since this is not Rosa Parks, who is she and what is her significance? Additional text is required in understanding this image.

ii. Additional support/idea - The added text becomes important in understanding the historical connection. The painting combines two monumental occasions in history.

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Claudette Colvin is “the first person arrested for resisting bus segregation in Montgomery, Alabama.” Yet little is known about her and her significance in the history of civil rights. Beyond being of darker complexion, she was 15 years old and became pregnant soon after. Being in the forefront would have brought additional negativity to the black community. Colvin was pregnant and unmarried. Her efforts were impactful because nine months after her arrest, Rosa Parks was arrested for not giving up her seat on the bus. Parks was the “secretary of the Montgomery chapter of the National Association of the Advancement of Colored People.” She was older and of lighter complexion becoming the perfect candidate (Rumble). At the time of her arrest, Rosa Parks’ inmate number was 7053 hence the connection to the sign Colvin is in holding. The bus is a symbolic representation of change and the connection between both Colvin and Parks. This painting also highlights colorism. Another battle African-Americans faced within their social group while fighting for their rights. This image illustrates an impactful connection between Colvin and Parks and their role in ending racial segregation during the Civil Rights Movement

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Works Cited

Brunts, Rene. "Color Clues What Hues Mean to You." Going Bonkers Magazine, June 2010, p.32. PsychologyCollection, http://link.galegroup.com/apps/doc/A351949929/PPPC?u=lincclin_wcc&sid=PPPC&xid=37ea06 eb. Accessed 17 Apr. 2019.

“Davis, Angela (1944–).” African American Eras: Contemporary Times, vol. 1: Activism and Reform, The Arts, Business and Industry, UXL, 2010, pp. 18-21. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX1838000016/GVRL?u=lincclin_bwcc&sid=GVRL&xid=d57 131dd. Accessed 14 Apr. 2019.

Duncan, Garrett A. "Desegregation." Race and Racism in the United States: An Encyclopedia of the American Mosaic, edited by Charles A. Gallagher and Cameron D. Lippard, vol. 1, Greenwood, 2014, pp. 341-347. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX3160000197/GVRL?u=lincclin_bwcc&sid=GVRL&xid=11f 2beae. Accessed 13 Apr. 2019.

“Jacob Lawrence,” Smithsonian American Art Museum, https://americanart.si.edu/artist/jacob- lawrence-2828. Accessed 13. April. 2019.

"Ku Klux Klan." Extremist Groups: Information for Students, vol. 1, Gale, 2006, pp. 444-451. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX3447100081/GVRL?u=lincclin_bwcc&sid=GVRL&xid=c62 28411. Accessed 14 Apr. 2019.

Lawrence, Jacob. Bar and Grill.1941. Smithsonian American Art Museum, americanart.si.edu/artwork/bar-and-grill-79031. Accessed 13. April. 2019

Lawrence, Jacob. The Library. 1960. Smithsonian American Art Museum, https://americanart.si.edu/artwork/library-14376. Accessed 13. April 2019

Lewis, Norman. Evening Rendezvous. 1962. Smithsonian American Art Museum, americanart.si.edu/artwork/evening-rendezvous-33910. Access 13. April 2019

Larocco, Rosalie. "The Power of Color." The Exceptional Parent, Apr. 2014, p. 20+. Psychology Collection, http://link.galegroup.com/apps/doc/A377573613/PPPC?u=lincclin_bwcc&sid=PPPC&xid=f80f4f 2e. Accessed 17 Apr. 2019

Lyons, Courtney Ann. "Civil Rights Movement." Multicultural America: A Multimedia Encyclopedia, edited by Carlos E. Cortés and Jane E. Sloan, vol. 1, SAGE Reference, 2014, pp. 518-525. Gale Virtual Reference Library,

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http://link.galegroup.com/apps/doc/CX3718500204/GVRL?u=lincclin_bwcc&sid=GVRL&xid=2e6 b2872. Accessed 13 Apr. 2019.

“Norman Rockwell - A Brief Biography - A Career in Illustration.” Norman Rockwell Museum, www.nrm.org/about/about-2/about-norman-rockwell/. Accessed 13 Apr. 2019.

Rumble, Taylor-Dior. “Claudette Colvin: The 15-Year-Old Who Came before Rosa Parks.” BBC News, BBC, 10 Mar. 2018, www.bbc.com/news/stories-43171799. Accessed 14 Apr. 2019.