ブルックリン美術館のインスタグラム(brooklynmuseum) - 11月29日 02時05分

Born out of necessity due to exclusion, murals heightened in popularity as a way to bring art to the general public in non-institutionalized settings. Communal, accessible, and representational, murals became a direct outlet for the people to express their own desires for their community. Public walls became the canvases of the revolution where artists could be uncensored and unabashed in their blackness. However, many murals that boasted images of symbolic black figures and culture, such as ⇨ The Wall of Respect, were deemed as a threat and capable of inciting anarchy amongst the public, and thus were forcibly removed. #soulofanationbkm ⠀
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Smokehouse Associates (William T. Williams, Melvin Edwards, Guy Ciarcia and Billy Rose). Smokehouse wall paintings and sculptures, 1968-69. Photographs by Robert Colton; Courtesy of William T. Williams and Michael Rosenfeld Gallery LLC, New York ⇨ The Wall of Respect, Chicago, 1967. Photograph by Robert Sengstacke⠀

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