Skip Navigation

Jan van Raay (American, born 1942). Faith Ringgold (right) and Michele Wallace (middle) at Art Workers Coalition Protest, Whitney Museum, 1971. Digital C-print. Courtesy of Jan van Raay, Portland, OR, 305–37. © Jan van Raay


                          
                          Jan van Raay (American, born 1942). Faith Ringgold (right) and Michele Wallace (middle) at Art Workers Coalition Protest, Whitney Museum, 1971. Digital C-print. Courtesy of Jan van Raay, Portland, OR, 305–37. © Jan van Raay

Jan van Raay (American, born 1942). Faith Ringgold (right) and Michele Wallace (middle) at Art Workers Coalition Protest, Whitney Museum, 1971. Digital C-print. Courtesy of Jan van Raay, Portland, OR, 305–37. © Jan van Raay

<p>Faith Ringgold (American, born 1930).<em> For the Women’s House</em>, 1971. Oil on canvas, 96 x 96 in. (243.8 x 243.8 cm). Courtesy of Rose M. Singer Center, Rikers Island Correctional Center. © 2017 Faith Ringgold / Artists Rights Society (ARS), New York</p>

Faith Ringgold (American, born 1930). For the Women’s House, 1971. Oil on canvas, 96 x 96 in. (243.8 x 243.8 cm). Courtesy of Rose M. Singer Center, Rikers Island Correctional Center. © 2017 Faith Ringgold / Artists Rights Society (ARS), New York

<p>Dindga McCannon (American, born 1947). <em>Revolutionary Sister</em>, 1971. Mixed media construction on wood, 62 x 27 in. (157.5 x 68.6 cm). Brooklyn Museum, Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.32. © Dindga McCannon. (Photo: Jonathan Dorado, Brooklyn Museum)</p>

Dindga McCannon (American, born 1947). Revolutionary Sister, 1971. Mixed media construction on wood, 62 x 27 in. (157.5 x 68.6 cm). Brooklyn Museum, Gift of R. M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.32. © Dindga McCannon. (Photo: Jonathan Dorado, Brooklyn Museum)

<p>Howardena Pindell (American, born 1943). Installation view of<em> Free, White and 21</em>, 1980. In <em>Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States</em>, A.I.R. Gallery (September 2–20, 1980). 12 min.15 sec. Courtesy of the artist and Garth Greenan Gallery, New York</p>

Howardena Pindell (American, born 1943). Installation view of Free, White and 21, 1980. In Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, A.I.R. Gallery (September 2–20, 1980). 12 min.15 sec. Courtesy of the artist and Garth Greenan Gallery, New York

<p>Barbara Chase-Riboud (American, born 1939). <em>Confessions for Myself</em>, 1972. Painted bronze and wood, 120 x 40 x 12 in. (304.8 x 101.6 x 30.5 cm). University of California, Berkeley Art Museum and Pacific Film Archive, purchased with funds from the H. W. Anderson Charitable Foundation, 1972.105. © Barbara Chase-Riboud, courtesy of her representative Michael Rosenfeld Gallery, LLY, New York, NY. (Photographed for the University of California Berkeley Art Museum and Pacific Film Archive by Benjamin Blackwell)</p>

Barbara Chase-Riboud (American, born 1939). Confessions for Myself, 1972. Painted bronze and wood, 120 x 40 x 12 in. (304.8 x 101.6 x 30.5 cm). University of California, Berkeley Art Museum and Pacific Film Archive, purchased with funds from the H. W. Anderson Charitable Foundation, 1972.105. © Barbara Chase-Riboud, courtesy of her representative Michael Rosenfeld Gallery, LLY, New York, NY. (Photographed for the University of California Berkeley Art Museum and Pacific Film Archive by Benjamin Blackwell)

<p>Where We At Collective. <em>Cookin' and Smokin'</em>, 1972. Offset printed poster, 14 × 11 in. (35.6 × 27.9 cm). Collection of David Lusenhop. Photo courtesy of Dindga McCannon Archives, Philadelphia, PA. © Dindga McCannon. (Photo: David Lusenhop)</p>

Where We At Collective. Cookin' and Smokin', 1972. Offset printed poster, 14 × 11 in. (35.6 × 27.9 cm). Collection of David Lusenhop. Photo courtesy of Dindga McCannon Archives, Philadelphia, PA. © Dindga McCannon. (Photo: David Lusenhop)

<p>Faith Ringgold (American, born 1930). <em>Committee to Defend the Panthers</em>, 1970. Collage on cardboard, 28 × 22 in. (71.1 × 55.9 cm). Museum of Modern Art, New York, The Abby Aldrich Rockefeller Endowment for Prints, 236.2016. © 2017 Faith Ringgold / Artists Rights Society (ARS), New York</p>

Faith Ringgold (American, born 1930). Committee to Defend the Panthers, 1970. Collage on cardboard, 28 × 22 in. (71.1 × 55.9 cm). Museum of Modern Art, New York, The Abby Aldrich Rockefeller Endowment for Prints, 236.2016. © 2017 Faith Ringgold / Artists Rights Society (ARS), New York

<p>Emma Amos (American, born 1938). <em>Preparing for a Face Lift</em>, 1981. Etching and crayon, 8<sup>1</sup>/<sub>4</sub> × 7<sup>3</sup>/<sub>4</sub> in. (21 × 19.7 cm). Courtesy of Emma Amos. © Emma Amos; courtesy of the artist and RYAN LEE, New York. Licensed by VAGA, New York</p>

Emma Amos (American, born 1938). Preparing for a Face Lift, 1981. Etching and crayon, 81/4 × 73/4 in. (21 × 19.7 cm). Courtesy of Emma Amos. © Emma Amos; courtesy of the artist and RYAN LEE, New York. Licensed by VAGA, New York

<p>Betye Saar (American, born 1926). <em>Liberation of Aunt Jemima: Cocktail</em>, 1973. Mixed-media assemblage, 12 x 18 in. (30.5 x 45.7 cm). Private collection. © Betye Saar, courtesy the artist and Roberts & Tilton, Culver City, California. (Photo: Jonathan Dorado, Brooklyn Museum)</p>

Betye Saar (American, born 1926). Liberation of Aunt Jemima: Cocktail, 1973. Mixed-media assemblage, 12 x 18 in. (30.5 x 45.7 cm). Private collection. © Betye Saar, courtesy the artist and Roberts & Tilton, Culver City, California. (Photo: Jonathan Dorado, Brooklyn Museum)

<p>Maren Hassinger (American, born 1947). <em>Leaning</em>, 1980. Wire and wire rope, 16 in. x variable width and depth (40.7 cm x variable width and depth). Courtesy of the artist. © Maren Hassinger. (Photo: Adam Avila)</p>

Maren Hassinger (American, born 1947). Leaning, 1980. Wire and wire rope, 16 in. x variable width and depth (40.7 cm x variable width and depth). Courtesy of the artist. © Maren Hassinger. (Photo: Adam Avila)

<p>Carrie Mae Weems (American, born 1953). <em>Family Reunion</em>, 1978–84. Gelatin silver print, 30 x 40 in. (framed). Courtesy of the artist and Jack Shainman Gallery, New York. © Carrie Mae Weems</p>

Carrie Mae Weems (American, born 1953). Family Reunion, 1978–84. Gelatin silver print, 30 x 40 in. (framed). Courtesy of the artist and Jack Shainman Gallery, New York. © Carrie Mae Weems

<p>Lorna Simpson (American, born 1960). <em>Rodeo Caldonia (Left to Right: Alva Rogers, Sandye Wilson, Candace Hamilton, Derin Young, Lisa Jones)</em>, 1986. Photographic print, 8 x 10 in. (20.3 x 25.4 cm). Courtesy of Lorna Simpson. © 1986 Lorna Simpson</p>

Lorna Simpson (American, born 1960). Rodeo Caldonia (Left to Right: Alva Rogers, Sandye Wilson, Candace Hamilton, Derin Young, Lisa Jones), 1986. Photographic print, 8 x 10 in. (20.3 x 25.4 cm). Courtesy of Lorna Simpson. © 1986 Lorna Simpson

We Wanted a Revolution: Black Radical Women, 1965–85

April 21–September 17, 2017

Elizabeth A. Sackler Center for Feminist Art and Stephanie and Tim Ingrassia Gallery of Contemporary Art, 4th Floor

Focusing on the work of black women artists, We Wanted a Revolution: Black Radical Women, 1965–85 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It is the first exhibition to highlight the voices and experiences of women of color—distinct from the primarily white, middle-class mainstream feminist movement—in order to reorient conversations around race, feminism, political action, art production, and art history in this significant historical period.

Presenting a diverse group of artists and activists who lived and worked at the intersections of avant-garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking.

The artists represented in the exhibition include Emma Amos, Camille Billops, Kay Brown, Vivian E. Browne, Linda Goode Bryant, Beverly Buchanan, Carole Byard, Elizabeth Catlett, Barbara Chase-Riboud, Ayoka Chenzira, Christine Choy and Susan Robeson, Blondell Cummings, Julie Dash, Pat Davis, Jeff Donaldson, Maren Hassinger, Janet Henry, Virginia Jaramillo, Jae Jarrell, Wadsworth Jarrell, Lisa Jones, Loïs Mailou Jones, Barbara Jones-Hogu, Carolyn Lawrence, Samella Lewis, Dindga McCannon, Barbara McCullough, Ana Mendieta, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Faith Ringgold, Alva Rogers, Alison Saar, Betye Saar, Coreen Simpson, Lorna Simpson, Ming Smith, and Carrie Mae Weems.

We Wanted a Revolution: Black Radical Women, 1965–85 is organized by Catherine Morris, Sackler Family Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, and Rujeko Hockley, former Assistant Curator of Contemporary Art, Brooklyn Museum.

Generous support for this exhibition is provided by the Ford Foundation, the Elizabeth A. Sackler Foundation, the Brooklyn Museum’s Contemporary Art Acquisitions Committee, The Andy Warhol Foundation for the Visual Arts, The Shelley & Donald Rubin Foundation, and The Barbara Lee Family Foundation.



Two books published by the Brooklyn Museum accompany the exhibition: a sourcebook of historical writings from the period, followed by a book of newly commissioned essays.

The publication of We Wanted a Revolution: Black Radical Women, 1965-85 / A Sourcebook has been made possible by the Elizabeth A. Sackler Foundation. Additional support has been provided by Mary Jo and Ted Shen.

A public symposium held under the auspices of the exhibition, and a published volume of new essays growing out of the symposium, have been made possible by the Elizabeth A. Sacker Foundation. Additional support has been provided by Mary Jo and Ted Shen.
 

We Wanted a Revolution: Black Radical Women, 1965–85 is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of ten exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art.

Upcoming Events