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Two Antilynching Art Exhibitions: Politicized Viewpoints, Racial Perspectives, Gendered Constraints Author(S): Helen Langa Source: American Art, Vol

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Two Antilynching Art Exhibitions: Politicized Viewpoints, Racial Perspectives, Gendered Constraints Author(S): Helen Langa Source: American Art, Vol Two Antilynching Art Exhibitions: Politicized Viewpoints, Racial Perspectives, Gendered Constraints Author(s): Helen Langa Source: American Art, Vol. 13, No. 1 (Spring, 1999), pp. 10-39 Published by: The University of Chicago Press on behalf of the Smithsonian American Art Museum Stable URL: http://www.jstor.org/stable/3109305 . Accessed: 26/07/2011 11:26 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. 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The University of Chicago Press and Smithsonian American Art Museum are collaborating with JSTOR to digitize, preserve and extend access to American Art. http://www.jstor.org Two AntilynchingArt Exhibitions PoliticizedViewpoints, Racial Perspectives, Gendered Constraints Helen Langa Two artexhibitions protesting lynch titleof an introductoryessay in one of violencein theUnited States were held thetwo exhibition catalogues even in New YorkCity early in 1935,both proclaimed"Pictures Can Fight!"' seekingto drawpublic attention to the The firstexhibition, titled An Art horrifyingfact that lynching continued to CommentaryonLynching, was organized be a seriousproblem in thefourth decade forthe NAACP byits director, Walter ofthe century. Although the number of White.It openedon February15 andran lynchingshad declinedfrom over one throughMarch 2, 1935,at theArthur U. hundredeach year in the1890s to tenin NewtonGalleries uptown on 57thStreet. 1929,it had risenagain to twenty-eight Whitehad recentlyrevived the NAACP's in 1933,and itwas clear that lynch legislativecampaign against lynching, terrorismhad notyet been eradicated. whichhad slowedearlier in thedecade, Lynchingswere most common in the and wasseeking publicity and support for South,but they took place in all partsof theCostigan-Wagner Bill, new antilynch- thecountry during the interwar decades. inglegislation introduced into Congress Whilelynch mobs usually targeted forthe first time in 1934. He conceived AfricanAmericans, they also murdered theexhibition as a uniqueway to draw Italians,Chinese, Mexicans, and Native attentionto thiseffort, which supporters Americans,and attackedwomen and hopedwould have a betterchance of childrenas wellas men.The terrorizing successthan earlier legislation because threatof lynch murder was frequently it refrainedfrom holding individual intensifiedby the torture, dismember- participantsresponsible for mob violence ment,and burningof victims. Through whilemandating prosecution of collabo- thesevirulent expressions of racial hatred, ratinglocal officials and fines for their lyncherssought to assertthe supremacy of communities. whiterule not only over their victims but The secondshow, called Struggle for also throughouttheir communities. NegroRights, was developed by leftist Organizersof the two exhibitions hoped membersof the Artists' Union and several thatvisual art could play a significantrole Communist-affiliatedorganizations that PrentissTaylor, Christin in opposinglynching by increasing public includedthe John Reed Club, the Alabama,1932. Lithograph,22.3 x awarenessof the and InternationalLabor Defense, and the 15.5 cm x 6 Collection problem, bymoving (8 ? ? in.). from ofthe Library of Congress, viewers empathyto activesupport Harlem-basedVanguard group. It was Washington,D.C. forproposed legislative remedies. The heldat theAmerican Contemporary Art 11 AmericanArt . , ; .5 ..L .., . ..J .....: ,., ,- -i.@ ??... r ., q??-.I .. ... r~.)... ,,. ... : .. .:.: . i i/..Y, ,:.. ', 1L .. ., ,. .,.." -. iT~i, 7 E .. ,.~ .. :7 . I .. ., . Gallery(ACA) on EighthStreet in lynchingwere inflected not onlyby GreenwichVillage, opening on March 3 divergentpolitical tactics for achieving and closingMarch 16, immediately racialjustice in America,but also by their followingthe NAACP show. The leftist own racial,ethnic, and genderidentities. sponsorsof the StruggleforNegro Rights Artistswere also influencedby contempo- exhibition(hereafter indicated as Negro rarycultural discourses that articulated Rights)advocated support for more lynching'ssocial impactin relationto radicalantilynch legislation titled the Bill conceptsof manhood and victimization, forNegro Rightsand the Suppressionof religiousexperience and communal Lynching,which demanded the death suffering,and interracialsolidarity and penaltyfor lynchers and connectedthe antiracistresistance. abolitionof lynchingto broaderefforts to expandAfrican Americans' civil equality. Adherentsrecognized that this bill had no DivergentOrganizational Politics chance forsuccess in Congress,but saw it as assertinga principledstand for justice Artists'choices about theirown works by insistingthat lynching be treatedas oftenreiterated the divergentpolitical murder.2Thus, while the NAACP show opinionsof the groupsthat organized the intendedto use the high-culturalassocia- two exhibitions.The particularviews of tionsof artto drawattention to its each groupwere evident both in the legislativecampaign, the NegroRights exhibitioncatalogues and in the differing exhibitionproposed both an alternative waysin whichthe shows were organized. politicalanalysis and a critiqueof the Even the titlesgiven to the exhibitions NAACP forelitism and itsfailure to offer suggestedtwo differentapproaches to a radicalvision. engagingpublic opinion about lynching. Artistswho participatedin thetwo An Art Commentaryon Lynchingevoked exhibitionsfaced the dauntingchallenge respectableand somewhatdistanced of developingvisual images that both considerationof the theme,while Struggle portrayedand condemnedlynching as forNegro Rights sounded both militant racistviolence. News reports,sociological and exhortatory.The catalogues(figs. 1 analyses,and literaryworks most often and 2) similarlydemonstrated the two depictedlynch murder as a violentsocial groups'contrasting goals and strategies.3 spectacle,a viciousattack fomented by WalterWhite solicitedshort introductory whiteperpetrators and focusedon a black essaysfor the NAACP cataloguefrom victim.Many artistswho opposed SherwoodAnderson and ErskineCaldwell, lynchingdrew on aspectsof thisscenario, whitewriters who wererecognized for but otherssought alternative types of theirinterest in ruraland Southern imagerythat were less brutalin their themes.Anderson's text argued that details,but werestill intended to prompt "poor whitemen" lynchedNegroes to viewersto a deeperunderstanding of assertsocial superiority,and his remarks racism'scosts. Although individual artist's impliedthat economic injustice lay choicesin approachingthe subjectvaried behindlynching. Caldwell similarly considerably,consideration of theirworks ascribedlynching to the Deep South's as a groupsuggests that their ideas were poverty,and arguedthat it caused a modulatedby theirpolitical and cultural "deterioration"of social values; "the affiliationsas much as by empathyand passageand enforcementof antilynching imaginativeinvention. Such a compari- laws,"Caldwell concluded,offered the son demonstratesthat artists' responses to primarymeans to end "furtherdescent the opportunityto make artagainst into the sloughof barbarism."White also 12 Spring1999 * FOR NEGRO * AN ARTCOMMENTARY ON LYNCHING MI * MARCH 3 TO 16 INCLUSIVE o blWoma.rnsgsd by HE FUGIIVE JOHNREED CLUB * ARTISTSUNION c, JohnS..to C:y ARTISTS COMMITTEE OF ACTION LEAGUEOF STRUGGLEFOR NEGRO RIGHTS ArthurU. NewtonGalleries INTERNATIONAL LABOR DEFENSE Eleven East Street Fifty-seventh THEVANGUARD New YorkCity Inrodudionby ANGELO HERNDON Gaoleies open I0:00 AtM. tc 5:00 P.M. daily,except Sunday ACA GALLERY * 52 WEST 8th STREET 1 Exhibition An Art cataloguecover, reproduceda lithographby the promi- artistwell knownfor his leftistsympa- on Commentary Lynching,1935. nentwhite regionalist artist John Steuart Collectionof the University of Iowa thies.By suggestivelyportraying a crudely Libraries,Iowa City,Iowa Curryto illustratethe cataloguecover. racistsign tackedto a tree,with a lynch Titled TheFugitive, Curry's print por- rope hangingover an upperlimb, 2 Exhibitioncatalogue cover, trayeda terrifiedblack man hidingin a Refregier'sprint seems intended to elicit Strugglefor Negro Rights, 1935. treeto fromwhite AntonRefregier Papers, Archives of escape lynchers,who outrageat racistattitudes while avoiding AmericanArt, Smithsonian Institu- werevisible on horsebackbelow. While the explicitillustration of racialviolence tion, D.C. Washington, the essaysreflected contemporary socio- or African-Americanvulnerability. logical explanationsthat connected "PicturesCan Fight!,"an introductionto lynchingto whitepoverty, Curry's print thecatalogue, written
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