With this work, the Brooklyn Museum debuts the recent acquisition of a significant collection of artworks from the Black Arts Movement, considered the cultural wing of the Black Power Movement in the late 1960s and 1970s.
Nelson Stevens was a member of the Chicago-based collective AfriCOBRA (African Commune of Bad Relevant Artists). AfriCOBRA used what they called “coolade colors” to create empowering images of African Americans—which they deemed “Superreal images for Superreal people.” Here a woman with an afro (then a highly political hairstyle) casts her gaze upward, as if envisioning a day when African Americans would be truly free. The word uhuru means “freedom” in Swahili, and the choice of language signaled the group’s Afrocentric politics.
Screenprint on paper
Sheet: 40 x 30 in. (101.6 x 76.2 cm) (show scale)
Unsigned as intended
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
This item is not on view
Nelson Stevens (American, 1938-2022). Uhuru, 1971. Screenprint on paper, Sheet: 40 x 30 in. (101.6 x 76.2 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, 2012.80.41. © artist or artist's estate (Photo: Brooklyn Museum, 2012.80.41_PS6.jpg)
overall, 2012.80.41_PS6.jpg. Brooklyn Museum photograph, 2013
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
© artist or artist's estate
Copyright for this work may be controlled by the artist, the artist's estate, or other rights holders. A more detailed analysis of its rights history may, however, place it in the public domain.
The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact email@example.com
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.