We Wanted a Revolution: Black Radical Women, 1965–85 was an exhibition held at the Brooklyn Museum of Art from April 21, 2017, through September 17, 2017 surveying the last twenty years of black female art. The exhibition was organized thematically, presenting forty artists and activists whose work was dedicated to the fight against racism, sexism, homophobia, and class injustice.
We Wanted a Revolution: Black Radical Women, 1965–85 was presented by the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, organized by Senior Curator Catherine Morris, former Assistant Curator of Contemporary Art Rujeko Hockley, with Curatorial Assistant Allie Rickard.[1] The exhibition was part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support was provided by Elizabeth A. Sackler, the Ford Foundation, the Stavros Niarchos Foundation, Anne Klein, the Calvin Klein Family Foundation, the Institute of Museum and Library Services, Mary Jo and Ted Shen and an anonymous donor. Financial support was also provided by Annette Blum, the Taylor Foundation, the Antonia and Vladimir Kulaev Cultural Heritage Fund, Beth Dozoretz, The Cowles Charitable Trust, and Almine Rech Gallery.[1]
Among the diverse media showcased were conceptual art, performance, film, video, printmaking, photography, and painting. Despite substantial distinctions between these mediums, the exhibition's overarching objective of amplifying the voices of Black female artists and shedding light on the oppression faced by Black female or non-binary artists within the art world and broader culture unified the showcased artworks. "We Wanted a Revolution" encompassed nine sections, each dedicated to a particular theme or medium.
Spiral is a group of Black artists that was active between 1963 and 1965. It was formed by Romare Bearden, Norman Lewis, Hale Woodruff and Charles Alston on July 5, 1963.
Emma Amos was born in Atlanta, Georgia, in 1938. She is an African American postmodernist painter and printmaker. Some of her works were exhibited including:
Elizabeth Catlett was a Mexican-American Modernist sculptor whose subject matter was often concentrated on black female experience. Elizabeth was born in Washington, D.C.
Jeff Donaldson was an African-American visual artist of the Black Arts Movement.
Some of the participants in the section were:
Some of the participants in the section were:
Symposium was held at the Brooklyn Museum of Art on April 21, 2017. As a part of the exhibition events, the art historian Kellie Jones, author and feminist theory scholar Aruna D'Souza, and Black cultural studies academic Uri McMillan gave speeches and participated in a panel discussion.
The exhibition was covered by several magazines. The New York Times' main critique was that the selection of artists was rather one-sided and narrow, which is why many prominent black artists remained unrepresented.
The only change I would make, apart from adding more artists, would be to tweak its title: I’d edit it down to its opening phrase and put that in the present tense.. — Holland Cotter (The New York Times)[2]The New Yorker presented a short response for the exhibition:
The several dozen artists whose work is featured in this superlative survey did not conform to one style, but they did share urgent concerns, often addressing issues of bias and exclusion in their art—and in their art-world organizing. The Just Above Midtown Gallery (JAM), a crucial New York institution of the black avant-garde, was instrumental to the careers of a number of them, including Lorraine O’Grady, whose sardonic pageant gown made of countless white gloves—the artist wore it in guerrilla performances at gallery openings—is a wonder. There is much powerful photography on view, from Ming Smith’s spontaneous portraits of Harlemites in the seventies to Lorna Simpson and Carrie Mae Weems’s poignant pairings of image and text, from the eighties. But the ephemera—the fascinating documentation and spirited newsletters—provide the exhibition’s glue, presenting the women not as anomalous achievers but as part of a formidable movement. — The New Yorker[3]
Two books were published as a part of the scholarship program for the exhibition.
The book was first published in 2017 as an exhibition catalog. It contains thirty-eight reproductions of articles, poems, interviews, and other texts by or about the artists of the exhibition. The book provides the reader with the perspectives of black female art and Black culture in general that were most prioritized by the exhibition. The publication was intended for scholars or students of art history; however, it is accessible to a general reader.
The exhibition was funded 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.