The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Second to None: Chicago Stories)

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About The Wall Of Respect: Public Art And Black

Product Description The Wall of Respect: Public Art and Black Liberation in 1960s Chicago is the first in-depth, illustrated history of a lost Chicago monument. The Wall of Respect was a revolutionary mural created by fourteen members of the Organization of Black American Culture (OBAC) on the South Side of Chicago in 1967. This book includes photographs by Darryl Cowherd, Bob Crawford, Roy Lewis, and Robert A. Sengstacke, and gathers historic essays, poetry, and previously unpublished primary documents from the movement’s founders that provide a guide to the work’s creation and evolution. The Wall of Respect received national critical acclaim when it was unveiled on the side of a building at Forty-Third and Langley in Chicago’s Bronzeville neighborhood. Painters and photographers worked side by side on the mural's seven themed sections, which featured portraits of Black heroes and sheroes, among them John Coltrane, Nina Simone, Billie Holiday, Malcolm X, Muhammad Ali, and W. E. B. Du Bois. The Wall became a platform for music, poetry, and political rallies. Over time it changed, reflecting painful controversies among the artists as well as broader shifts in the Civil Rights and Black Liberation Movements. At the intersection of African American culture, politics, and Chicago art history, The Wall of Respect offers, in one keepsake-quality work, an unsurpassed collection of images and essays that illuminate a powerful monument that continues to fascinate artists, scholars, and readers in Chicago and across the United States. Review “ The Wall of Respect, beautifully designed and abundantly illustrated, is a book long overdue for an often overlooked milestone in American art and culture.” — The Chicago Tribune " The Wall of Respect is, hands down, the most recognizable urban mural in the United States. It is a revolutionary work of collaboration created in revolutionary times. It is a memorial that has been memorialized in poetry and song and photography. It tells an incredible history of Black creativity and struggles for freedom, dignity, and power. Yet, its own history has never been told. That is, until now. An extraordinary work of reconstruction and illumination,  The Wall of Respect is one of those rare books that reveal the deep links between art and politics, movement and imagination, community and creativity. And rest assured, this book will not gather dust on the coffee table." —Robin D. G. Kelley, author of  Freedom Dreams: The Black Radical Imagination " The Wall of Respect: Public Art and Black Liberation in 1960s Chicago makes a valuable contribution to discourse about this important mural, the Black Arts Movement, the history of Chicago, and broader histories of civic engagement. Unlike earlier, brief histories of the  Wall that were incomplete or lacked deep historical awareness of OBAC, this book offers the most comprehensive history of this specific period in OBAC’s influential life and their role in the creation of the  Wall. I have no doubt that this book will have a significant impact on future scholarship in the areas of black aesthetics, community engagement and art, and the history and sociology of Chicago’s south side." —Greg Foster-Rice, co-editor (with Katherine Bussard and Alison Fisher) of  The City Lost and Found: Capturing New York, Chicago and Los Angeles, 1960— 1980 "Finally,  The Wall of Respect gets the comprehensive attention it deserves!  With this volume, Alkalimat, Crawford and Zorach have made a tremendous contribution to both Art History and African-American Studies. Like OBAC’s creative mural, this book is a beautiful example of interdisciplinary collaboration. By combining original essays with photographs and archival documents, it sets an impressive benchmark for the study of public art in social movements. The editors have breathed new life into the poetic words of Gwendolyn Brooks, ensuring that, 'All worship the Wall.'" —Jonathan Fenderson, Assistant Professo