Civil Rights Movement (1954-68)

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    Jazzed About Abstraction: Jack Whitten’s Show Is a Peak MoMA Moment

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    “I’m a product of American Apartheid,” the artist Jack Whitten wrote, a blunt fact that led him to project, in his art, a very different reality, one of “infinite diversity in infinite combinations.” It was a vision that propelled and buoyed him through a nearly six-decade career. “This is why I get up in the morning,” he wrote, “and go to work!”And how very lucky we are, at a moment when references to diversity and difference are being scrubbed from accounts of our national history, to have a refreshing tidal wave of a Whitten career retrospective sweeping and scintillating through the special exhibition galleries on the Museum of Modern Art’s sixth floor.Titled “Jack Whitten: The Messenger,” the show encompasses some 180 paintings, sculptures and works on paper, from a 1963 art-school collage to a final painting from just before he died in 2018. Over that span Whitten called every studio he worked in a “laboratory,” and every piece of art he made an “experiment.” And, indeed, much of what’s in the show challenges ready definition.Whitten at his studio in 1974 with a large rake-like tool that he had made to apply a wide layer of paint to a horizontal canvas.Paul Viani, via The Museum of Modern Art, New YorkSuch is the case with a piece called “The Messenger (for Art Blakey)” installed just outside the first gallery. From a distance it could be a photograph of a star-drenched night sky, or of clouds of foam on a dark sea. Or it could a painting with white paint glopped and dripped, Abstract Expressionist-style, on a black ground. Get close and you find that, in fact, it’s a large rough-textured mosaic pieced together from thousands of pixel-like cubes of dried paint.You consult the title for meaning: Art Blakey, Black drummer extraordinaire, leader in the 1950s of the hardbop group called the Jazz Messengers. Suddenly the glops and drips look sonic, like musical bursts and pings.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Administration Dropped Policy Prohibiting Contractors From Having Segregated Facilities

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      A bus station in Durham, N.C., in 1940.Universal History Archive/Universal Images Group, via Getty ImagesIn 1962, removing a restroom sign at Montgomery Municipal Airport in Alabama, in compliance with a federal court order banning segregation.Associated PressThe Trump administration has removed a longstanding directive from the civil rights era that explicitly prohibited federal contractors from allowing segregated facilities, the latest move to eradicate diversity, equity and inclusion policies from government operations that has drawn fierce rebuke.The removal of the segregated-facilities policy was included in a memo last month from the General Services Administration, which manages federal property and oversees procurement for the federal government. The memo, which applies to all civilian federal agencies, was among the many directives from agencies aiming to purge safeguards put in place in the 1960s to comply with executive orders issued by President Trump on race and gender identity. In his first days in office, Mr. Trump directed agencies to rid themselves of “harmful” and “wasteful” diversity policies, and “gender ideology extremism.”The memo, which came to light after it was reported by National Public Radio this week, drops several clauses from the G.S.A.’s Federal Acquisition Regulation, which is used to solicit contracts for services and supplies. The memo said the wording was “not consistent with the direction of the president.” Among the deletions is a policy, last updated in 2015, that stipulated federal contractors couldn’t have “segregated facilities,” such as waiting rooms, work areas, restrooms, lunchrooms and water fountains.The Civil Rights Act of 1964 still bars discrimination, and segregated facilities, in the United States. But civil rights groups have feared that Mr. Trump’s war on D.E.I. programs has signaled the federal government’s willingness to retreat from enforcing it.Dariely Rodriguez, the acting co-chief counsel for the Lawyers’ Committee for Civil Rights Under Law, said that like Mr. Trump’s revocation of a decades-old order issued by President Lyndon B. Johnson barring discrimination in hiring for government contractors, the stripping of the segregation provision “weakens the very safeguards that promote equity and inclusion across multiple sectors, including workplaces.”“The Trump administration’s actions are pressure-testing our democracy, eroding more than 60 years of progress,” Ms. Rodriguez said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Marks Black History Month, Even as He Slams the Value of Diversity

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      The Black History Month reception held at the White House on Thursday had all of the pomp of celebrations past. Guests sipped champagne and snacked on lamb chops and collard greens. The crowd delighted in their invitations, snapping selfies. And when President Trump walked out alongside one of the greatest Black athletes in the world, Tiger Woods, the crowd roared with their phones in the air.But the dissonance in the East Room was jarring.Mr. Trump may have praised the contributions of Black Americans on Thursday, but he has spent the weeks since his inauguration eviscerating federal programs aimed at combating inequality in America. He has suggested that efforts spurred by the civil rights movement had made victims out of white people. He blamed a deadly plane crash over the Potomac River on diversity programs in the Federal Aviation Administration.On Thursday, Mr. Trump tried to show appreciation to the Black community by extolling those he sees as representative of Black American progress.“Let me ask you,” Mr. Trump said as he began his remarks, “is there anybody like our Tiger?”Mr. Trump and Mr. Woods are actively engaged in negotiations in search of a lucrative golf merger deal, and the president referred to Mr. Woods repeatedly during his roughly 20-minute address a crowd of several hundred guests. Mr. Woods wasn’t the only Black athlete to get a shout-out; Mr. Trump also heralded Muhammad Ali and Kobe Bryant.During his remarks, Mr. Trump made little reference to issues that have historically plagued the Black community, such as elevated poverty rates, the wage and wealth gap between Black and white Americans, and gun violence. He promised to put statues of Black Americans in a new “National Garden of American Heroes.”Among those to be honored was Prince Estabrook, an enslaved man and the first Black American to spill blood in the Revolutionary War, along with Harriet Tubman, Rosa Parks, Billie Holiday and Aretha Franklin — and maybe Mr. Woods one day, Mr. Trump said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Thelma Mothershed Wair, Little Rock Nine Student, Dies at 83

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      In 1957, Mrs. Mothershed Wair and eight other Black students enrolled at Little Rock Central High School. They faced racist mobs and were escorted by federal troops.Thelma Mothershed Wair, one of nine Black students who became known as the Little Rock Nine for integrating a high school in 1957 during one of the biggest confrontations of the civil rights movement, died on Saturday at a hospital in Little Rock. She was 83.Her death was confirmed by her sister, Grace Davis. No cause was given.In the fall of 1957, nine Black students enrolled at Little Rock Central High School, the country’s first test for school integration after the 1954 Supreme Court Brown v. Board of Education decision declared “separate but equal” education unconstitutional.In a 2004 oral history interview with the Little Rock Central High School National Historic Site, Mrs. Mothershed Wair recalled seeing Gov. Orval Faubus of Arkansas on television calling on the National Guard to block the students from entering on their first day. “I thought he meant to protect me,” she said in the 2004 interview. “How wrong I was.”The students faced angry, racist mobs that first day, and the soldiers blocked them from entering the school. Mrs. Mothershed Wair also recalled seeing cars with out-of-state license plates near the school.For three weeks, Gov. Faubus defied the federal desegregation order, setting off a crisis across Little Rock. Then President Dwight D. Eisenhower ordered federal troops to escort the students to school on Sept. 25. “The army has come into our city to put nine kids in a school?” she said she remembered thinking. “Did that make any sense? Was this not America?”With the 101st Airborne Division accompanying them, Mrs. Mothershed Wair recalled how the mobs that had blocked them from entering school “parted like when Moses stretched out his staff at the Red Sea.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump vs. Harris Would Be Nothing Without Myths

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      Kamala Harris and Donald Trump are making their appeals to the American electorate on the basis of personality, character and policy. But they are also framing themselves as actors in the American story — the events of the recent past and the deeper narrative of U.S. history carried by the symbol-rich stories of our national mythology.There has been very little common ground expressed between the parties in this election, except the belief that a victory by the opposition would be apocalyptic. Even when they invoke the same historical references, they present them in radically different ways. To Democrats, Jan. 6 was a shameful assault on democracy. To many Republicans, it was a patriotic protest of a rigged election.It’s as if we are living in two different countries, each with a different understanding of who counts as American.Each candidate is trying to pitch the contest to voters as a heroic episode in the unfolding of American history and invites them to imagine themselves as players in the narrative.In the “story wars,” Mr. Trump has an advantage over Ms. Harris: Conservatives have devised over decades a store of established mythological American “scripts,” something liberals have failed to do.Among the big issues at stake in the 2024 election, for both the campaigns and the country, is no less than shaping what it means to be an American and who gets to have power.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Heads to North Carolina as Mark Robinson’s Campaign Reels

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      With somewhat awkward timing, former President Donald J. Trump plans to campaign in North Carolina on Saturday as his pick for governor, Lt. Gov. Mark Robinson, faces accusations of making disturbing posts on a pornographic website.Mr. Trump’s visit to Wilmington, N.C., for a rally will take place two days after CNN reported that Mr. Robinson had once called himself a “black NAZI!” and defended slavery years ago on a pornographic forum.Mr. Robinson, whom Mr. Trump endorsed in March, has denied the report and vowed to stay in the race. But both parties are looking closely at the fallout, which could have a spillover effect in the presidential contest, given that North Carolina is a key battleground state that Mr. Trump won twice but that Democrats see as competitive.The lieutenant governor, who has a long history of making inflammatory and offensive remarks, is not expected to attend Mr. Trump’s rally on Saturday, according to a person familiar with the program’s details. Mr. Robinson was also absent when Mr. Trump’s running mate, Senator JD Vance of Ohio, visited the state on Wednesday, the day before CNN released its report.A spokesman for Mr. Robinson did not immediately respond to a request for comment on Friday. The Trump campaign avoided weighing in on the controversy when asked for comment on Friday.Democrats, who last carried North Carolina in the 2008 presidential race, are seeking to remind voters in the increasingly competitive state about Mr. Trump’s past praise for Mr. Robinson. Vice President Kamala Harris’s presidential campaign released a television ad on Friday, “Both Wrong,” highlighting Mr. Trump’s past warm words for Mr. Robinson and some of Mr. Robinson’s past polarizing statements. At least nine electronic billboards around the state will display ads on Friday and Saturday paid for by the Democratic National Committee linking the two Republicans.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Gail Lumet Buckley, Chronicler of Black Family History, Dies at 86

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      She wrote two books about multiple generations of her forebears, including her mother, Lena Horne.Gail Lumet Buckley, who rather than follow her mother, Lena Horne, into show business, wrote two multigenerational books about their ambitious Black middle-class family, died on July 18 at her home in Santa Monica, Calif. She was 86.Her daughter Jenny Lumet, a screenwriter and film and television producer, said the cause was heart failure.Mrs. Buckley was inspired to chronicle her family history in the early 1980s, when her mother asked her to store an old trunk in her basement. It had belonged to Ms. Horne’s father, Edwin Jr., known as Teddy, and contained hundreds of artifacts that had belonged to relatives dating back six generations, to Sinai Reynolds, who had been born into slavery around 1777 and who in 1859 bought her freedom and that of members of her family.“There were photographs, letters, bills, notes,” Mrs. Buckley told The New York Times in a joint interview with her mother in 1986, as well as “speakeasy tickets, gambling receipts, college diplomas.”Those disparate paper fragments of history helped her structure “The Hornes: An American Family” (1986).Mrs. Buckley was inspired to chronicle her family history when she discovered, in an old trunk, hundreds of artifacts that had belonged to relatives dating back six generations.Alfred A. KnopfWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Bernice Johnson Reagon, a Musical Voice for Civil Rights, Is Dead at 81

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      A singer, composer, curator and founder of the vocal group Sweet Honey in the Rock, she provided a gospel soundtrack for the civil rights movement.Bernice Johnson Reagon, whose stirring gospel voice helped provide the soundtrack of the civil rights movement, then went on to become a cultural historian, a curator at the Smithsonian Institution and the founder of the women’s a cappella group Sweet Honey in the Rock, died on Tuesday in Washington. She was 81.Her death, in a hospital, was confirmed by her daughter, Toshi Reagon, who did not give a cause.Bernice Reagon, the daughter of a Baptist preacher in Albany, Ga., grew up in a church without a piano, and the first music she absorbed, rooted in spirituals and hymns, was performed by human voices to the accompaniment of clapping and foot stomping.She was an original member in 1962 of the Freedom Singers, a vocal quartet that provided anthems of defiance for civil rights protesters preparing to confront the police or as they were hauled away to jail. The Freedom Singers were associated with the Student Nonviolent Coordinating Committee, which sent them across the South as well as to the Newport Folk Festival in Rhode Island in 1963.Ms. Reagon once wrote, “I sang and heard the freedom songs and saw them pull together sections of the Black community at times when other means of communication were ineffective.”She went on to earn a doctorate in American history from Howard University in 1975 and to direct the Black American Culture Program at the Smithsonian. There, she amassed a collection of blues, gospel and spiritual music and presented that heritage to the public.During one gospel music presentation, in the 1980s, Ms. Reagon encouraged the audience to hum and sing along with the performers. “And if you can’t do that, grunt or sigh a little,” she instructed.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Willie Mays, Birmingham and Rickwood Field: Baseball Honors a Legend in His Hometown

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      Major League Baseball is in Birmingham to honor the legacy of the Negro Leagues. With Mays’s death, the celebration at ancient Rickwood Field takes on new meaning.In the late innings of a minor league game on Tuesday night at Rickwood Field in Birmingham, Ala., fans throughout the grandstand, suddenly and almost in unison, began staring at the news on their phones: The great Willie Mays had died, at 93, in California.An inning later, a tribute video played on the scoreboard overlooking the outfield where Mays played his first professional game as a teenage phenom for the Birmingham Black Barons, and the loudspeaker blared “Say Hey (the Willie Mays Song),” recorded in 1954 by the R&B group the Treniers.“I was shocked,” said Randy Ferguson, 70, a member of the Friends of Rickwood, the nonprofit organization that oversees the ancient ballpark. He was standing outside a small museum underneath the stands, where the next day fans would line up to see Mays’s flower-draped Hall of Fame plaque, the first time it has left the wall in Cooperstown since it was installed at his induction in 1979. “I have chill bumps. I can’t think of any place to be than here.”At 114 years old, Rickwood Field is the nation’s oldest professional ballpark, the first place Mays played pro ball and the last ballpark still standing that he called home. To honor the legacy of the Negro Leagues, Major League Baseball scheduled a game in Mays’s hometown between the San Francisco Giants, Mays’s old team, and the St. Louis Cardinals, that will be played on Thursday.The Rev. William H. Greason, 99, who was the first Black pitcher for the Cardinals in the 1950s, has been a pastor in Birmingham for more than a half-century since retiring from baseball. He had been hoping to see his old friend this week, at the ballpark where they played together.At 114 years old, Rickwood Field is the nation’s oldest professional ballpark and the first place Mays played professional baseball.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More