‘Black Art: In the Absence of Light’ Reveals a History of Neglect and Triumph

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An NAACP flyer campaigning for the Dyer Anti-Lynching Bill, which passed the U.S. House of Representatives in 1922, but was filibustered to defeat in the Senate. Dyer, the NAACP, and freedom fighters around the country, like Flossie Baily, struggled for years to get the Dyer and other anti-lynching bills passed, to no avail. Today there is still no U.S. law specifically against lynching. In 2005, eighty of the 100 U.S. Senators voted for a resolution to apologize to victims' families and the country for their failure to outlaw lynching. Courtesy of the National Association for the Advancement of Colored People (NAACP).

Some Exhibits to Come – One Hundred Years of Jim Crow

Bibliography – One Hundred Years Of Jim Crow

Claude, age 23, just months before his 1930 murder. Courtesy of Faith Deeter.

Freedom’s Heroes During Jim Crow: Flossie Bailey and the Deeters

Souvenir Portrait of the Lynching of Abram Smith and Thomas Shipp, August 7, 1930, by studio photographer Lawrence Beitler. Courtesy of the Indiana Hisorical Society.

An Iconic Lynching in the North

Claxton Dekle – Prosperous Farmer, Husband & Father of Two

Ancient manuscripts about mathematics and astronomy from Timbuktu, Mali

Some Exhibits to Come – African Peoples Before Captivity

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Some Exhibits to Come – The Middle Passage

What I Saw Aboard a Slave Ship in 1829

Life After Hate: A Former White Power Leader Redeems Himself

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February 8, 2021

An HBO documentary explores two centuries of art by African-Americans, and the path they forged for contemporary Black artists.

By: Holland Carter, New York Times

“This is Black art. And it matters. And it’s been going on for two hundred years. Deal with it.”

So declares the art historian Maurice Berger toward the beginning of “Black Art: In the Absence of Light,” a rich and absorbing documentary directed by Sam Pollard (“MLK/FBI”) and debuting on HBO Tuesday night.

The feature-length film, assembled from interviews with contemporary artists, curators and scholars, was inspired by a single 1976 exhibition, “Two Centuries of Black American Art,” the first large-scale survey of African-American artists. Organized by the artist David C. Driskell, who was then-head of the art department at Fisk University, it included some 200 works dating from the mid-18th to the mid-20th century, and advanced a history that few Americans, including art professionals, even knew existed.

The HBO documentary recalls a landmark show “Two Centuries of Black American Art” at the Los Angeles County Museum of Art, 1976. It was organized by David C. Driskell.
Museum Associates/LACMA

The point of Pollard’s film, which was also the point of Driskell’s 1976 survey, is to demonstrate that, and to demonstrate that Black artists have been making some of the best work and the most relevant work for decades, centuries. But they’ve been making it mostly on the margins, beyond the white art world’s spotlights.

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