The black-and-white image captures a moment that resonates through time—a man stands resolutely beside a car emblazoned with slogans advocating for equal rights, clutching a sign that reads, “We Are Tired of Waiting.” Taken in 1962 by the remarkable Black photographer Harry Adams, this photograph symbolizes the passion and urgency that characterized the Civil Rights Movement. It serves as a powerful reminder of the struggles faced by African Americans in their fight for equality.
This compelling image is part of an exhibition titled “Photography and the Black Arts Movement, 1955-1985,” opening on February 24 at the Getty Museum. The exhibition features an array of works from talented African American and Afro-Atlantic diaspora artists, all of whom utilized photography as a medium to celebrate Black culture and advance the struggle for civil rights. The exhibit is enriched by several images on loan from California State University, Northridge’s Tom & Ethel Bradley Center.
As José Luis Benavides, journalism professor and director of the Bradley Center, remarks, “Photography is an art form, though some people consider it the stepchild of the art world.” This exhibition seeks to rectify that notion by spotlighting the critical role photography played in the Black Arts Movement, a period marked by identity exploration and active political engagement. The images demonstrate how Black artists shaped perceptions of their own narratives and realities while responding to the fervor of the Civil Rights Movement and the broader Black Freedom Movement.
The exhibition showcases works by several prominent African American photographers, including Roland Charles, Howard Morehead, Calvin Hicks, and Willie Middlebrook Jr., alongside Adams’ poignant imagery. Each photograph tells a unique story that contributes to the overarching narrative of the quest for equality. Benavides emphasizes the significance of the man’s sign: “The gentleman with the sign that says ‘we’re tired of waiting’ sends a message about the demand for fair and equal treatment for Black people.” In contrast, photographers like Willie Middlebrook delve into the everyday experiences of Black life, transforming mundane moments into stunning visual art.
Originally organized by the National Gallery of Art in Washington D.C., the exhibition had a successful run from September 21, 2022, to January 11, 2023. The Getty’s associate curator of photographs, Mazie Harris, chose to incorporate more works from the Bradley Center in response to critiques regarding the previous lack of representation for Los Angeles-based photographers. “That was a great question,” she acknowledged. “So, when the Getty decided to take the exhibition from the National Gallery, I thought it was an extraordinary opportunity to highlight the material I have learned so much about through visits to the Bradley Center.”
The exhibits not only document individual works but also encapsulate the legacy of organizations such as the Black Gallery, established in Crenshaw in 1984 by a group calling themselves the Black Photographers of California. These grassroots organizations were instrumental in promoting Black artists and ensuring their narratives were represented in both local and national landscapes.
“Photography and the Black Arts Movement, 1955-1985” will be featured in the lower level of the Getty Museum’s West Pavilion until June 14, after which it will travel to the Mississippi Museum of Art in Jackson, Mississippi, opening July 25 and running through November 8. For those interested in learning more, detailed information about the exhibition can be found on the Getty website.
The archives at the Tom & Ethel Bradley Center hold over a million images from Los Angeles-based freelance and independent photographers spanning the decades from the 1930s to the present. Particularly notable is the repository’s extensive collection featuring work by African American photojournalists. The center also archives oral histories, manuscripts, and other ephemera that add depth to the photographic collections.
Among its vast resources, the archives encompass more than 150 oral histories from African American photographers, civil rights leaders, and other influential figures in Los Angeles’ history. Furthermore, the Border Studies Collection critically examines the complexities surrounding the U.S.-Mexico border, highlighting the multifaceted narratives that shape our understanding of regional history.
