It chronicles artist collectives (OBAC, the Organization of Black African Culture AfriCOBRA, the African Commune of Bad Relevant Artists), the origins of the mural movement, and the shift from the civil rights era to the era of black power. It documents south-side institutions and spaces from the Alley to the South Side Community Art Center and-across the street from it-Margaret Burroughs’s home museum that became the DuSable. The book includes essays, interviews, a time line, maps, and images of everything in the exhibit (and more). These works, like Douglas Williams’s abstract but unmistakably relatable 1970 three-part sculpture Sky Watchers and Eddie Harris’s blood-drenched 1969 panel, salvaged from the Wall of Truth mural that faced and spoke to the storied Wall of Respect-demand, and reward, your presence. Photos can’t do justice to works like Sylvester Britton’s mesmerizingly luminous 1962 abstract oil (Untitled) or the churning, explosive universe of color in another oil painting, Dale Normand’s Superman (1980). While the book is a must-have, filled with illustrations that amplify the 100-plus-piece exhibit (although it could use an index), it shouldn’t substitute for a visit to the Smart to see the real thing. 7/28: Lawyers for Social Justice Reception. Sommelier Series (paid sponsored content).
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