"Something to Say" is the first major survey of modern and contemporary African American art to be presented at the McNay. The exhibition juxtaposes works from the pioneering collection of Harmon and Harriet Kelley with loans from the collections of Guillermo Nicolas and Jim Foster, John and Freda Facey, and the McNay.
Drawn primarily from the Kelleys' groundbreaking collection, "Something to Say" presents more than 50 artworks by a range of 20th- and 21st-century artists. Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Norman Lewis, and Charles White, the exhibition and related programs allow visitors to reflect on a range of African American experiences, and examine how artists have expressed personal, political, and racial identity over approximately 100 years.
Also included in "Something to Say" is Benny Andrews' Sexism, the seventh in the McNay's series of AT&T Lobby installations. Between 1970 and 1975, Andrews created six monumental paintings as part of his Bicentennial series, in response to official United States Bicentennial plans to be carried out in 1976. The McNay presents the fourth work in the series, Sexism, 1973, wherein Andrews, inspired by his involvement with feminist groups and activists, explores similar oppressions of women. The work is humorous, surreal, provocative, and complex in its contemplation of the distribution of power among genders.
"Something to Say" is the first major survey of modern and contemporary African American art to be presented at the McNay. The exhibition juxtaposes works from the pioneering collection of Harmon and Harriet Kelley with loans from the collections of Guillermo Nicolas and Jim Foster, John and Freda Facey, and the McNay.
Drawn primarily from the Kelleys' groundbreaking collection, "Something to Say" presents more than 50 artworks by a range of 20th- and 21st-century artists. Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Norman Lewis, and Charles White, the exhibition and related programs allow visitors to reflect on a range of African American experiences, and examine how artists have expressed personal, political, and racial identity over approximately 100 years.
Also included in "Something to Say" is Benny Andrews' Sexism, the seventh in the McNay's series of AT&T Lobby installations. Between 1970 and 1975, Andrews created six monumental paintings as part of his Bicentennial series, in response to official United States Bicentennial plans to be carried out in 1976. The McNay presents the fourth work in the series, Sexism, 1973, wherein Andrews, inspired by his involvement with feminist groups and activists, explores similar oppressions of women. The work is humorous, surreal, provocative, and complex in its contemplation of the distribution of power among genders.
"Something to Say" is the first major survey of modern and contemporary African American art to be presented at the McNay. The exhibition juxtaposes works from the pioneering collection of Harmon and Harriet Kelley with loans from the collections of Guillermo Nicolas and Jim Foster, John and Freda Facey, and the McNay.
Drawn primarily from the Kelleys' groundbreaking collection, "Something to Say" presents more than 50 artworks by a range of 20th- and 21st-century artists. Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Norman Lewis, and Charles White, the exhibition and related programs allow visitors to reflect on a range of African American experiences, and examine how artists have expressed personal, political, and racial identity over approximately 100 years.
Also included in "Something to Say" is Benny Andrews' Sexism, the seventh in the McNay's series of AT&T Lobby installations. Between 1970 and 1975, Andrews created six monumental paintings as part of his Bicentennial series, in response to official United States Bicentennial plans to be carried out in 1976. The McNay presents the fourth work in the series, Sexism, 1973, wherein Andrews, inspired by his involvement with feminist groups and activists, explores similar oppressions of women. The work is humorous, surreal, provocative, and complex in its contemplation of the distribution of power among genders.
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