The Power of the Lens: Reframing the Black Arts Movement at the Getty

In the annals of American cultural history, the period between 1955 and 1985 stands as a seismic era of transformation. It was a time when the fight for civil rights, the clamor for Black liberation, and the surge of creative expression collided to form the Black Arts Movement. Currently, a monumental exhibition at the Getty in Los Angeles, Photography and the Black Arts Movement, 1955–1985, seeks to re-examine this period not just through the lens of political history, but through the transformative power of the photographic image.

Curated by the esteemed duo of Philip Brookman and Deborah Willis, the exhibition assembles 150 works that trace the evolution of Black identity, resistance, and artistic innovation. By moving beyond traditional historical documentation, the show argues that the camera was not merely a passive observer of the Black experience, but an active participant in shaping it.

The Genesis of a Movement: A Visual Chronology

To understand the scope of the exhibition, one must look at the timeline it inhabits. The mid-1950s marked a departure from earlier forms of artistic expression, moving toward a more assertive, unapologetic documentation of Black life.

The exhibition begins with the foundational struggles of the late 1950s and early 60s, where photography served as a critical tool for political mobilization. Iconic figures like Ernest C. Withers, whose lens captured the harrowing reality of the 1968 Memphis sanitation workers’ strike, feature prominently. His photograph, I Am a Man, is more than a historical record; it is a testament to the intersection of labor rights and human dignity.

As the 1970s progressed, the focus shifted from purely reactive protest imagery to the nuanced, internal exploration of Black beauty and futurism. The inclusion of Ming Smith’s Sun Ra, Space II (1978) highlights this transition. By utilizing long exposures, Smith captured not just a performer, but a cosmic, liberatory vision of Black existence that challenged the narrow perceptions of the era. The exhibition concludes in the mid-1980s, a period defined by a growing institutional awareness of these artists and the solidification of Black photography as a central pillar of the fine arts.

The Curatorial Vision: Bridging Past and Present

Mazie Harris, assistant curator at the Getty, suggests that the exhibition is particularly resonant in today’s political climate. "I can’t stop thinking about one of the artworks in the exhibition by Darryl Cowherd titled The Time is Now," Harris explains. "It’s a photograph he made in the 1960s of that phrase graffitied onto a door. It strikes me as the perfect sentiment for this show."

The curatorial process, which spanned several years, was driven by a desire to challenge the peripheral status often assigned to photography in historical discourse. "Photography is sometimes thought of as peripheral to history—as mere documentation of what happened in the past," Harris notes. "But photographs don’t just record social transformations; they play crucial roles in motivating political change—swaying public opinion, focusing attention on important causes, and spurring solidarity."

The curators sought to create a "collage" of their own—a deliberate layering of viewpoints from African, British, Nuyorican, and Caribbean artists. By weaving these diverse threads together, Brookman and Willis highlight the international scope of the Black Arts Movement, illustrating that the pursuit of liberation was a global phenomenon.

Supporting Data: The Mechanics of Representation

The exhibition’s strength lies in its refusal to adhere to a single definition of "art." Many of the images on display were never intended for the walls of a gallery; they were produced for magazines, newspapers, and activist newsletters. This distinction is vital for understanding the reach of the Black Arts Movement.

In the 1960s and 70s, mass-market publications served as the primary vehicle for visual advocacy. Photographers like Moneta Sleet Jr. utilized these platforms to bring the realities of the Selma march to millions of living rooms across the nation. Today, while digital platforms provide an even greater opportunity for dissemination, the challenge remains the same: cutting through the "noise" of the media landscape. As Harris points out, the efficacy of an image still relies on "powerful visions and strong voices."

The technical diversity of the exhibition—spanning gelatin silver prints, inkjet prints, and even early video work like Barbara McCullough’s Shopping Bag Spirits and Freeway Fetishes—demonstrates that the Black Arts Movement was as much about formal experimentation as it was about content.

Voices from the Gallery: Insights from the Curatorial Team

The selection process for the exhibition was both meticulous and thematic. The curators were adamant about representing "trailblazers" of the era, such as Fannie Lou Hamer, while also introducing audiences to lesser-known figures who contributed to the visual vernacular of Black empowerment.

"Some images or photographers were included for their importance in spotlighting Black beauty, others for their vital work in bringing attention to the Black community," Harris explains. "Several works in the show weren’t made as art at all but were produced to support political organizing. So even if you’re deeply engaged with photo history, there’ll be something in this show that’ll offer you a new perspective."

One of the most striking aspects of the collection is its pivot away from the constant re-traumatization often associated with depictions of racial violence. While such images are included to provide historical context, the overwhelming emphasis remains on "Black self-fashioning and storytelling." This shift serves to humanize the subjects, moving them from the position of victimhood to that of agency and pride.

The Implications: Why It Matters Today

The relevance of Photography and the Black Arts Movement extends far beyond the gallery walls. In a contemporary society grappling with ongoing civil rights challenges, the exhibition acts as both a mirror and a blueprint. It asks viewers to consider their role in the present-day landscape of visual culture.

"The time is now to wield the camera as a tool to promote dignity and respect, which are too often being stripped away," says Harris. "The time is now to look up from the glowing screen on which you are reading these words and take action, just as the artists and advocates included in this show did."

By framing the exhibition through the lens of "The Time is Now," the Getty invites a participatory experience. It challenges the visitor to move beyond the passive consumption of art and toward an active engagement with the issues that defined the mid-twentieth century and continue to define our own.

The exhibition is not merely a memorial to a bygone era; it is a living, breathing testament to the power of the image to demand change. Whether through Gordon Parks’ poignant portraits of everyday life in Chicago or the abstract, celestial photography of Ming Smith, the work demands that we look closely, understand deeply, and—most importantly—act.

Looking Ahead: The Exhibition Tour

For those unable to visit the Getty in Los Angeles before the mid-June closing date, the exhibition will embark on a tour, arriving at the Mississippi Museum of Art. From July 25th to November 8th, 2026, the collection will be housed in Mississippi, a location deeply significant to the history of the Civil Rights Movement.

This move underscores the importance of regional engagement, ensuring that the history of the Black Arts Movement is returned to the communities where so much of the foundational struggle took place. As the exhibition travels, it continues its vital work of rewriting the narrative of the mid-twentieth century, ensuring that the photographers, activists, and artists who shaped our modern consciousness are not only remembered but are recognized for the indelible mark they left on the world.

In the final assessment, Photography and the Black Arts Movement is a profound reminder that history is not a static object—it is a conversation. Through the work of over 100 artists, this exhibition ensures that the conversation remains loud, clear, and urgent. The time to listen, and the time to look, is indeed now.