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Angela Davis Still an Activist

Published

11 years ago

February 4, 2015

Oakland Post

A current photograph of Angela Davis, professor emerita at the University of California, Santa Cruz (Courtesy photo)

At 71, the Freedom Fighter Battles On

by Stacy M. Brown

Special to the NNPA from the Washington Informer

Say the name Angela Davis and, depending upon with whom you speak, a range of opinions, emotions and thoughts automatically ensue.

But, to hear the famed political activist speak, it’s easy to understand why she has become one of the most prominently known fighters against oppression in America and around the globe.

“A lot of civil and human rights activists of the ’60s and ’70s are no longer with the movement but that’s not the case with Angela Davis. She’s still on the front lines,” said David Leonard, chair of the Washington State University’s Department of Critical Culture, Gender, and Race Studies, where Davis recently spoke to a sold-out audience.

Davis, who turned 71 on Monday, Jan. 26, holds the title of professor emerita in the Humanities Division at the University of California Santa Cruz. However, 45 years ago, she held the dubious distinction of being on the FBI’s notorious “Most Wanted” list.

It turned out the charges didn’t hold and Davis, now a noted scholar, continued her work as the face of the 1970s black power movement.

In her mid-20s when she gained the national spotlight, Davis in 1969, lost her job as an assistant philosophy professor at the University of California Los Angeles (UCLA) because the state Board of Regents cited her membership in the Communist Party.

“The dismissal sparked large-scale student protests in support of Davis’s right to teach and academic freedom. Then, roughly a year later, she became a nationally hunted fugitive after the FBI linked her to the shooting deaths of four people in a Marin County courthouse,” said Linda Weiford, a writer for the Washington State University Press.

Captured and tried, an all-white jury eventually acquitted Davis of all charges.

“I wasn’t seeking fame. I wasn’t seeking notoriety. I just wanted to be a teacher and activist,” said Davis in a recent interview with UCLA News.

Even in her personal biography, Davis focused on activism as perhaps her sole motivation in life. Over the years she has been active as a student, teacher, writer, scholar, activist and organizer. She’s also a living witness to the historical struggles of the contemporary era.

“She is someone whose name jumps out at you, whether you are black, white, Asian, or whatever,” said Kenyon Moore, a junior at Howard University in Northwest. “I think her story is worth telling and I think she’s definitely worth listening to,” Moore said.

Like many educators, Davis said she’s especially concerned with the general tendency to devote more resources and attention to the prison system than to educational institutions.

Having helped to popularize the notion of what she called a “prison industrial complex,” Davis now urges her audiences to think seriously about the future possibility of a world without prisons and to help forge a 21st century abolitionist movement.

She’s lectured in all of the fifty United States, as well as in Africa, Europe, the Caribbean, and the former Soviet Union. Davis also has written articles and essays for numerous journals and she’s authored nine books, including, “The Meaning of Freedom and other Difficult Dialogues.”

Following the shootings of Trayvon Martin in Florida, Michael Brown in Missouri and other incidents of alleged injustices against young blacks and police brutality, Davis said America had reached a time of transformation.

“There is such potential for change. All over this country from Ferguson to New York City to Washington and indeed, in other parts of the world, people are absolutely refusing to assent to racist state violence,” Davis said.

“Rather, we are saying that black bodies do matter. And our work must be to continue taking to the streets and standing together against the routine actions of police and the district attorneys who collude with them; and continue saying, ‘No Justice, No Peace, No Racist Police,’ until there is real change on the agenda for us.”

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

Published

3 weeks ago

March 24, 2026

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM). “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.