{"id":165116,"date":"2026-02-14T23:13:08","date_gmt":"2026-02-14T23:13:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-tx\/165116\/"},"modified":"2026-02-14T23:13:08","modified_gmt":"2026-02-14T23:13:08","slug":"black-photojurnalism-exhibit-opens-at-the-carter-museum-march-15","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-tx\/165116\/","title":{"rendered":"Black Photojurnalism Exhibit Opens at The Carter Museum March 15"},"content":{"rendered":"

\"The<\/a>Kwame Brathwaite (1938\u20132023), Jacksons on Boat from Gor\u00e9e
\nIsland, ca. 1974, inkjet print, The Kwame Brathwaite Archive,
\n\u00a9 Kwame Brathwaite<\/p>\n

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Black Photojournalism exhibit opens at The Amon Carter Museum of American Art (the Carter) March 15. Organized by Carnegie Museum of Art, this exhibition brings together the work of over 60 photographers working across the United States between 1945 and the mid-1980s.<\/p>\n

The exhibit features over 250 photographs, and highlights the groundbreaking role of Black photojournalists in documenting both pivotal historical events in addition to the everyday lives of Black Americans. Black Photojournalism will be on view at the Carter March 15 through July 5.<\/p>\n

\u201cBlack Photojournalism continues the Carter\u2019s commitment to providing a more comprehensive view of American artistic expression,\u201d said Scott Wilcox, Interim Director of the Carter. \u201cThis exhibition not only celebrates the artistry and vision of these photojournalists but also amplifies the stories and communities that have often been underrepresented in the history of American media and art. We are grateful to Carnegie Museum of Art for organizing this exhibition and to the many photographers, publishers, and archives whose work allows us to share these powerful images with Fort Worth audiences.\u201d<\/p>\n

Black Photojurnalism Images
\n\"BlackKwame Brathwaite (1938\u20132023), Changing Times, ca. 1973, inkjet print, The Kwame Brathwaite Archive, \u00a9 Kwame Brathwaite<\/p>\n

From the rise of Black-owned media following World War II to the civil rights movement and beyond, these images showcase the vital contributions of Black photojournalists in shaping how people saw themselves and their communities. Their photographs not only documented moments of social change but also captured the vibrancy of daily life. These works underscore how photojournalism served as both a record of history and a tool for empowerment.<\/p>\n

\"GordonGordon Parks (1912\u20132006), Emerging Man, Harlem, NY, 1952, gelatin silver print, Carnegie Museum of Art, William Talbott Hillman Fund for Photography, 2016.16, Courtesy of and \u00a9 The Gordon Parks Foundation<\/p>\n

\u201cBlack Photojournalism is a rich and unprecedented opportunity to see how Black photographers persistently and imaginatively captured Black life in the history-making decades of the post-World War II era,\u201d said Charles Wylie, Curator of Photographs at the Carter. \u201cCarnegie Museum of Art has created an extraordinary experience for visitors that breaks new ground with a much fuller look than ever before at how Black life was represented in the vibrant Black press. A special feature will be the chance to see how well-known artists such as Kwame Brathwaite, Gordon Parks, Ming Smith, and Shawn Walker, among many, produced photographs for the pages of Black media outlets that have now achieved iconic status as works of art.\u201d<\/p>\n

\"TheSharon Farmer (b. 1951), Israel Baptist Church\u2013Masons at cornerstone ceremony, ca. 1980, gelatin silver print, Library of Congress, Prints and Photographs Division, Washington, DC, \u00a9 Sharon Farmer, photo: Sharon Farmer\/SFphotoworks<\/p>\n

Drawn from archives and collections across the country, the original photography prints in Black Photojournalism reveal the tireless efforts of Black publishers, photographers, and news professionals who built groundbreaking editorial methods and networks during a time of urgent social change. Newspapers and magazines such as the Afro American News, Atlanta Daily World, Chicago Defender, Ebony, and Pittsburgh Courier offered powerful new ways for Black readers to see themselves and their communities, transforming the media landscape in ways that continue to resonate today.<\/p>\n

The Carter Exhibition<\/p>\n

The exhibition is arranged chronologically, with sections organized by decade. These sections include: 1940s\u20131950s: America After the War. 1960s: Black Is Beautiful This section documents a transformative era of liberation, expression, and hope. 1970s: Can You Dig It? The 1970s were marked by cultural innovation, political engagement, and a celebration of Black life across the arts and media. 1980s: Keep Hope Alive Named after Jesse Jackson\u2019s 1988 campaign slogan, this section reflects the complex realities of Black life in the 1980s.<\/p>\n

\"BlackMoneta Sleet Jr. (1926\u20131996), Rosa Parks \u2013 Montgomery, Alabama, 1956, gelatin silver print, Saint Louis Art Museum, Gift of the Johnson Publishing Company, 394:1991, \u00a9 Johnson Publishing Company Archive, Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation and Smithsonian National Museum of African American History and Culture<\/p>\n

Along with the Tarrant County Black Historical and Genealogical Society (TCBHGS), the Carter will offer public events that explore this rich history in our own community. Through this partnership, the Museum and TCBHGS emphasize how Fort Worth\u2019s Black media uniquely documented everyday life, community events, and historic milestones across North Texas from the postwar era through the mid-1980s.<\/p>\n

Black Photojournalism is organized by Carnegie Museum of Art. The exhibition is designed by artist David Hartt, and is co-organized by Dan Leers, curator of photography, and Charlene FoggieBarnett, Charles \u201cTeenie\u201d Harris community archivist, in dialogue with an expanded network of scholars, archivists, curators, and historians. Significant support for this exhibition has been provided by the Terra Foundation for American Art. Black Photojournalism has been made possible in part by a major grant from the National Endowment for the Humanities.<\/p>\n","protected":false},"excerpt":{"rendered":"Kwame Brathwaite (1938\u20132023), Jacksons on Boat from Gor\u00e9e Island, ca. 1974, inkjet print, The Kwame Brathwaite Archive, \u00a9…\n","protected":false},"author":2,"featured_media":165117,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[116,118,117],"class_list":{"0":"post-165116","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-fort-worth","8":"tag-fort-worth","9":"tag-fort-worth-headlines","10":"tag-fort-worth-news"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/posts\/165116","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/comments?post=165116"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/posts\/165116\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/media\/165117"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/media?parent=165116"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/categories?post=165116"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/tags?post=165116"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}