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Art for People's Sake: Artists and Community in Black Chicago, 1965

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Art for People's Sake: Artists and Community in Black Chicago, 1965 Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago. Deeply re- searched, politically sophisticated, and beautifully narrated, Zorach makes a surprising and inspiring contribution that will deepen our understanding of the creative expression that emerges from Black life, community, and politics.” — KEEANGA-YAMAHTTA TAYLOR, author of From #BlackLives- Matter to Black Liberation “ Rebecca Zorach offers a rich and detailed story of how artists, gang mem- bers, educators, curators, and Black Nationalists worked together to trans- form a Chicago community through creativity and affirmation—important mod els for today.” — KYMBERLY N. PINDER, author of Painting the Gospel: Black Public Art and Religion in Chicago REBECCA ZORACH is Mary Jane Crowe Professor of Art and Art History at Northwestern University and the author and editor of several books, including The Wall of Respect: Public Art and Black Liberation in 1960s Chicago. Duke University Press www.dukeupress.edu Cover art: Barbara Jones-Hogu, To Be Free (Know the Past and Prepare for the Future), 1972. Screenprint. South Side Community Art Center. Gift of the artist. DUKE Zorach_pbk_cover.indd 1 1/18/2019 2:17:34 PM Art for People’s Sake 218-77345_ch00_4P.indd 1 1/18/19 8:43 PM 218-77345_ch00_4P.indd 2 1/18/19 8:43 PM Art for People’s Sake Artists and Community in Black Chicago, 1965–1975 REBECCA ZORACH DUKE UNIVERSITY PRESS DURHAM AND LONDON 2019 218-77345_ch00_4P.indd 3 1/18/19 8:43 PM © 2019 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Amy Ruth Buchanan Typeset in Huronia by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Zorach, Rebecca, [date] author. Title: Art for people’s sake : artists and community in Black Chicago, 1965–75 / Rebecca Zorach. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identifiers:lccn 2018035542 (print) | lccn 2018042751 (ebook) isbn 9781478002468 (ebook) isbn 9781478001003 (hardcover : alk. paper) isbn 9781478001409 (pbk. : alk. paper) Subjects: lcsh: Black Arts movement— Illinois— Chicago. | African American arts— Illinois— Chicago— History—20th century. | City planning— Social aspects— Illinois— Chicago— History—20th century. | Artists and community— Illinois— Chicago— History—20th century. | africobra (Group of artists)— History. | Organ ization of Black American Culture— History. | Chicago (Ill.)— Race relations— History—20th century. Classification:lcc nx512.3.a35 (ebook) | lcc nx512.3.a35 z67 2019 (print) | ddc 700.89/96073— dc23 lc rec ord available at https:// lccn . loc . gov / 2018035542 Cover art: Barbara Jones-Hogu, To Be Free (Know the Past and Prepare for the Future), 1972. Screenprint. South Side Community Art Center. Gift of the artist. Duke University Press gratefully acknowledges the support of the Graham Foundation for Advanced Studies in the Fine Arts, which provided funds toward the publication of this book. Duke University Press gratefully acknowledges the Terra Foundation for American Art, which provided funds toward the publication of this book. 218-77345_ch00_4P.indd 4 1/18/19 8:43 PM Contents Illustrations ​/ ​vii Acknowl edgments ​/ ​xvii Introduction: The Black Arts Movement in Chicago ​/ ​1 1 Claiming Space, Being in Public ​/ ​30 2 Cultural Nationalism and Community Culture ​/ ​85 3 An Experimental Friendship ​/ ​124 4 The Black Family ​/ ​179 5 ­Until the Walls Come Down ​/ ​215 6 Starring the Black Community ​/ ​257 Notes ​/ ​299 Bibliography ​/ ​349 Index ​/ ​375 218-77345_ch00_4P.indd 5 1/18/19 8:43 PM 218-77345_ch00_4P.indd 6 1/18/19 8:43 PM Illustrations Introduction I.1 Girl with hula hoop (Irene Sistrunk) near the Wall of Re spect, 1967. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 2 I.2 obac Visual Arts Workshop, Wall of Re spect (full view), 1967. Mural at 43rd Street and Langley Ave nue. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 3 I.3 Census Tracts of Chicago, 1940: Races and Nationalities. Produced by Social Science Research Committee, University of Chicago. Map Collection, University of Chicago Library. 4 I.4 Wall of Re spect, section with raised fist painted by Eugene “Eda” Wade, 1967. Photo by Bob Solari. Public Art Workshop Mural Archive. 6 I.5 Map of Chicago Showing Types of Cultural and Economic Areas, 1933. Produced by Social Science Research Committee, University of Chicago. Map Collection, University of Chicago Library. 24 I.6 Apache Rangers graffiti. Photo by John Tweedle for theChicago Daily News, 1966. 28 Chapter 1 Map 1.1 Community areas of Chicago according to the number of demolished units (1965–68) relative to 1960 population. Map by Kelsey Rydland. 38 1.1 Margaret Burroughs, In School— Together. Linocut, n.d. South Side Community Art Center. 41 218-77345_ch00_4P.indd 7 1/18/19 8:43 PM 1.2 Margaret Burroughs, Mother and Child. Linocut, n.d. South Side Community Art Center. 42 1.3 The Museum of Negro History and Art at 3806 South Michigan Ave nue, with bust of Jean Baptiste Point du Sable by Robert E. L. Jones, Chicago, 1966. Photo by Larry Nocerino for the Chicago Sun- Times. 44 1.4 February 1970 calendar. Created by Fidepe Hammurabi. South Side Community Art Center Archive. Courtesy of South Side Community Art Center. 45 1.5 Jae Jarrell at Jae of Hyde Park. Photo by the Chicago Daily News, 1967. 47 1.6 Jeff Donaldson and visitors at exhibition at Lakeside Gallery, 1968. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 49 1.7 Wadsworth and Jae Jarrell with Wadsworth Jr. and Napoleon Jones- Henderson at wj Studios, 1968. Photo by Gerald Williams. Courtesy of Gerald Williams. 49 1.8 Edfu Kinginga crowning cele bration (with artwork on the wall) at Oṣun Gallery in South Shore, 1981. Photo by Yaoundé Olu. 50 1.9 Meeting of obac Visual Arts Workshop at The Arts on Stony Island Ave nue, 1967. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 51 1.10 Nii- Oti and two colleagues in front of Zambezi Artist Guild, 1041 East 63rd Street, 1968. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 52 1.11 Poster for Barbara Jones and Napoleon Henderson exhibition Wanted: A Printer and a Weaver. Courtesy of sscac Archives. 55 1.12 Malcolm X Shabazz Park renaming event, Washington Park, May 1967. Photographer unknown. “White Women Set Off Two- Hour Melee in Chicago,” Jet, June 8, 1967, 38. 58 1.13 Artist William “Bill” Walker studies the sectional design created by designer Sylvia Abernathy for the Wall of Re spect mural, during a meeting of obac, Chicago, IL, summer 1967. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 60 1.14 Wall of Re spect, “Theater” section by Barbara Jones- Hogu in pro- gress, 1967. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 62 1.15 Black student demonstration at Civic Center Plaza, 1968. Photo by Jack Dykinga for the Chicago Sun- Times, October 29, 1968. 69 viii / ILLUSTRATIONS 218-77345_ch00_4P.indd 8 1/18/19 8:43 PM 1.16 Black Power graffiti in Chicago, 1967. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 71 1.17 Darryl Cowherd, Blackstone, Woodlawn, Chicago, 1968, 1968. Silver gelatin print. © Darryl Cowherd. Courtesy of Darryl Cowherd. 71 1.18 Jae Jarrell (American, b. 1935), Urban Wall Suit, ca. 1969. Sewn and painted cotton and silk, two- piece suit. 37½ × 27½ × ½ in. (95.3 × 69.9 × 1.3 cm). © Jae Jarrell. Brooklyn Museum. Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emmy L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.16. 72 1.19 Gerald Williams, Nation Time, 1969. Acrylic on canvas. 48 × 56 in. Collection of John and Susan Horseman. 73 1.20 Wall of Re spect, detail of “Jazz” section, in pro gress, 1967. Photographer unknown. 76 1.21 Wall of Re spect, detail of Norman Parish’s “Statesmen” section with Roy Lewis photo of Malcolm Shabazz Park (Washington Park), 1967. Photo by Robert A. Sengstacke. Courtesy of Sengstacke Estate. 76 1.22 Neighborhood residents who protected the Wall of Re spect, 1967.
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