Tag Archives: Barbara McCullough


On the occasion of the closing day SENGA NENGUDI—IMPROVISATIONAL GESTURES, a day-long symposium presented in conjunction with the exhibition will take place this weekend at CAAM and USC.

During the morning sessions, Nengudi will be joined by Selma HoloChelo Montoya, Elissa Auther, Uri McMillan, Grant JohnsonBarbara McCulloughIsabel Wade, and Maren Hassinger.

After lunch, Nengudi’s work R.S.V.P. will be performed, and the afternoon session will conclude with the roundtable “On Activism and Performance,” with Nengudi, Rafa EsparzaPatrisse Cullors, and Nao Bustamante, moderated by Suzanne Hudson.



SYMPOSIUM, Saturday, April 14, from 9 am to 4 pm.

CALIFORNIA AFRICAN AMERICAN MUSEUM (morning sessions), 600 State Drive, Exposition Park, Los Angeles.

FISHER MUSEUM OF ART, USC (afternoon performance and roundtable), 823 West Exposition Boulevard, Los Angeles.

See: fisher.usc.edu/senga


Senga Nengudi, R.S.V.P., 1977, photograph by Herman Outlaw; and (bottom) Nengudi at the 57th Venice Biennale, in 2017.

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WE WANTED A REVOLUTION—BLACK RADICAL WOMEN, 1965–1985 “examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism.”

The exhibition includes work by Emma Amos, Camille Billops, Kay Brown, Vivian E. Browne, Linda Goode Bryant, Beverly Buchanan, Carole Byard, Elizabeth Catlett, Barbara Chase-Riboud, Ayoka Chenzira, Christine Choy and Susan Robeson, Blondell Cummings, Julie Dash, Pat Davis, Jeff Donaldson, Maren Hassinger, Janet Henry, Virginia Jaramillo, Jae Jarrell, Wadsworth Jarrell, Lisa Jones, Loïs Mailou Jones, Barbara Jones-Hogu, Carolyn Lawrence, Samella Lewis, Dindga McCannon, Barbara McCullough, Ana Mendieta, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Faith Ringgold, Alva Rogers, Alison Saar, Betye Saar, Coreen Simpson, Lorna Simpson, Ming Smith, and Carrie Mae Weems.


WE WANTED A REVOLUTION—BLACK RADICAL WOMEN, 1965–1985, through January 14.

CALIFORNIA AFRICAN AMERICAN MUSEUM, 600 State Drive, Exposition Park, Los Angeles.


Closing symposium, Saturday, January 14, from 1 pm to 7 pm.


Faith Ringgold, The People’s Flag Show.



“The [Lionel Hampton] band came to Los Angeles for a gig out on Sunset Boulevard. I’ll never forget. After the last performance, we were getting ready to head back to New York. At four o’clock that morning, I got off the bus….I wanted to do something else. I wanted my own thing; I wanted to write it and I wanted to help preserve the music….Nobody knew who wrote the music or cared….This is when I first started thinking about putting the Arkestra together and that’s why I got off the road to start my band, to preserve black music. I wanted to teach and show and perform the music of black Americans and Pan-African music, to preserve it by playing it and writing it and taking it to the community.” — Horace Tapscott*

In the early 1960s, Horace Tapscott (1934 –1999) left the Hampton band and returned to Los Angeles to fulfill his dream. He shifted his practice from the trombone to the piano, and—with the Pan-African Peoples Arkestra—began composing, archiving, and preserving. He was also a community activist who was blacklisted in the ’60s, and during the Watts Rebellion of 1965, the LAPD shut down his performances.

This week, at the Museum of Contemporary Art, filmmaker Barbara McCullough will present her documentary on Tapscott and the history of African-American art, music, and activism in Los Angeles.

HORACE TAPSCOTT: MUSICAL GRIOT, Thursday, March 9, 2017 at 7 pm.

The Call (1978 ) is the second LP by Horace Tapscott's Pan Afrikan Peoples Arkestra. Image: Coverjazz Canalblog

The Call (1978 ) is the second LP by Horace Tapscott’s Pan Afrikan Peoples Arkestra.
Image: Coverjazz Canalblog