Academy Museum Announces Details of REGENERATION: BLACK CINEMA 898–1971

The first museum exhibition of its kind, Regeneration: Black Cinema 1898-1971 opens at the Academy Museum of Motion Pictures on August 21, 2022. It offers the public a chance to learn more about how Black performers and filmmakers have helped define cinema in the United States. The exhibition explores the achievements and challenges of both independent production and the studio system, from cinema's infancy in the 1890s through the height of the civil rights movement. Regeneration features rarely seen excerpts of films restored by the Academy Film Archive, as well as other narrative films and documentaries; newsreels and home movies; photographs; scripts; drawings; costumes; equipment; posters; and historical materials, such as entrance tickets, note cards, and telegrams; along with augmented reality experiences (AR) designed specifically for the exhibition.

The second major temporary exhibition to be organized by the Academy Museum, Regeneration will remain on view in the Marilyn and Jeffrey Katzenberg Gallery through April 9, 2023. Regeneration is co-curated by Doris Berger, Vice President of Curatorial Affairs at the Academy Museum, and Rhea Combs, Director of Curatorial Affairs at the Smithsonian's National Portrait Gallery, with the Academy Museum's J. Raúl Guzmán, Assistant Curator as well as Manouchka Kelly Labouba and Emily Rauber-Rodriguez, Research Assistants.

Co-curators Berger and Combs said, "It has been a great honor for us to curate Regeneration, a project that challenged us to do justice to the lives and work of nearly a century of Black filmmakers and the audiences they served. The legacies explored in these galleries were important in their own time, though too often neglected and marginalized, and remain vital today. We hope to heighten awareness of these films and film artists and encourage an appreciation of the many, many contributions that Black Americans have made to cinema."

"This landmark exhibition seeks to restore lost chapters of American film history as it elevates the contributions of Black artists to present a more inclusive story," said Jacqueline Stewart, who served on the exhibition's advisory panel before becoming Chief Artistic and Programming Officer of the Academy Museum of Motion Pictures. "We are incredibly proud to present Regeneration, an exhibition that demonstrates how the Academy Museum introduces new scholarship, offers a more expansive vision of American film history, and encourages public dialogue about the past and present of film as an art form and a social force."

Regeneration comprises seven galleries dedicated to: exploring the social and political situation of Black Americans at the dawn of cinema in the United States; the representation of Black people in early cinema from 1897 to 1915; pioneering independent Black filmmakers such as Oscar Micheaux and "race films," made for Black audiences from the 1910s to the 1940s; Black music in American film, including "soundies" and Black musicals; Black stars and film icons; cinematic stories reflecting the freedom movements; and the daring and pioneering paths Black film directors blazed during the civil rights movement. Highlighted objects on view include never-before-shown costume drawings from Carmen Jones (1954); promotional glamour portraits of dozens of leading Black film stars; costumes worn by Lena Horne in Stormy Weather (1943), and Sammy Davis, Jr. in Porgy and Bess (1959); cowboy boots worn by Herb Jeffries in Harlem on the Prairie (1937); a 1920s camera from the Norman Film Company, a producer of race films; a Mills Panoram machine from the 1940s; tap dance shoes from the Nicholas Brothers; and one of Louis Armstrong's trumpets.

The exhibition opens with two versions of a clip from Something Good - Negro Kiss (1898), showcasing vaudeville performers Saint Suttle (1870-1932) and Gertie Brown (1882-1934) in what appears to be one of the earliest examples of on-screen affection by Black actors. Unknown prior to 2016, when it was discovered in the United States, another version of the clip was recently found in Norway and will also be presented. This silent work counters the popular stereotypical and racist caricatures of Black performance at the time.

The next gallery highlights "race films," which were independently made productions with all-Black casts created between 1916 and the 1940s. These films often offered more nuanced stories and roles for Black actors than mainstream Studio Productions. A wall featuring vibrant movie posters demonstrates the scale and range of genres of these films, and spotlights companies and filmmakers in different geographic regions of the US. This section is amplified by materials on segregated movie theaters, alongside an interactive US map highlighting the volume of race film productions, and a curated selection of existing race film clips shown in a specially designed in-gallery theater.

The exhibition goes on to explore the opportunities and complexities that arose when Hollywood began to include more depictions of Black actors, specifically in films featuring music, as demonstrated by early sound films "soundies"-the three-minute precursor to the music video-and Hollywood's all-Black-cast musicals. This gallery also looks beyond the United States and highlights the career of Josephine Baker in France.

The "Stars and Icons" gallery recognizes numerous Black performers in Hollywood from the 1920s through the late 1950s, many of whom achieved mainstream notoriety, although a significant number did not. A large-scale installation of more than fifty glamour photographs features top-billed stars and previously uncredited artists as a way of showcasing their lasting influence on American cinema. This installation is in dialogue with home movies that feature private images of stars like the Nicholas Brothers, Cab Calloway, and Josephine Baker. A large-scale film montage features striking musical numbers with Black performers together with some never-seen-before costumes. A spotlight on Hattie McDaniel's Oscar win and complicated fame is also presented in this gallery.

The exhibition culminates with a section devoted to freedom movements, demonstrating how advances in the Black freedom struggle impacted the film industry. A section on World War II showing propaganda films and newsreels offers insight into that critical era of the civil rights movement. A parallel projection highlights clips from documentaries and feature films side-by-side, demonstrating the relationship between films and the sociopolitical struggles of the era. An assortment of photographs, drawings, posters, and magazines highlights how actors such as Harry Belafonte, Ruby Dee, Ossie Davis, Sidney Poitier, and Paul Robeson. As well as writers Lorraine Hansberry and James Baldwin, who used their platforms to fight for social and racial justice.

Regeneration's final gallery pays tribute to five Black directors active from the 1960s onward-Madeline Anderson, Robert L. Goodwin, William Greaves, Gordon Parks, and Melvin Van Peebles-and shows how their unique perspectives allowed them to create documentaries, independent films, and Hollywood productions that have helped pave the way for current and future filmmakers of color.

Throughout the exhibition, to address the continuing impact of the legacy of Black filmmaking and its interplay with other traditions in visual art, the exhibition also includes works by contemporary artists including Theaster Gates (Some Remember Sock Hops, Others Remember Riots, 2020), Glenn Ligon (Double America 2, 2014), Gary Simmons (Balcony Seating Only, 2017), Kara Walker (The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, 1995), and Carrie Mae Weems (Slow Fade to Black II, 2010).

Regeneration received the 2018 Sotheby's Prize for curatorial excellence and for facilitating an exhibition that explores overlooked or underrepresented areas of art history. Regeneration was also recognized with major grants from the National Endowment for the Humanities, the National Endowment for the Arts, and the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture.

Throughout the development of the exhibition, co-curators Doris Berger and Rhea Combs collaborated with an advisory group of distinguished scholars, curators, and filmmakers, including: Charles Burnett, filmmaker, Academy member; Ava DuVernay, filmmaker, Academy member; Michael Boyce Gillespie, Associate Professor, The City College of New York, Department of Media and Communication Arts; Shola Lynch, Curator, New York Public Library, Schomburg Center for Research in Black Culture, filmmaker, Academy member; Ron Magliozzi, Curator of Film, The Museum of Modern Art; Ellen C. Scott, Associate Professor and Head of Cinema and Media Studies, UCLA School of Theater, Film, and Television; and Jacqueline Stewart.

A comprehensive, illustrated catalogue accompanying the exhibition, co-published by the Academy Museum and DelMonico Books, will function as an essential reader on Black visual culture and filmmaking. The catalogue will include a foreword by Whoopi Goldberg; original essays from the co-curators as well as Donald Bogle, Cara Caddoo, Terri Simone Francis, Michael Boyce Gillespie, Shola Lynch, Ron Magliozzi, Ellen C. Scott, and Jacqueline Stewart; new interviews with award-winning contemporary filmmakers Charles Burnett, Julie Dash, Ava DuVernay, Barry Jenkins, and Dawn Porter; and a filmography and chronology of significant socio-political moments by J. Raúl Guzmán. The exhibition will also have a dedicated website featuring additional information and resources to enhance the visitor experience.

Regeneration will be accompanied by a range of film series and screenings, including world-premieres of films newly restored by the Academy Film Archive-including a title once thought lost-and a series guest-programmed by Black Film Archive creator and curator Maya Cade.

Presented in conjunction with Regeneration is Isaac Julien's Baltimore, a three-channel installation that will be located in the Academy Museum's Warner Brothers Gallery. Julien's film is an homage to writer, director, producer, and actor Melvin Van Peebles (1932-2021), whose 1971 film Sweet Sweetback's Baadasssss Song ushered in the "blaxploitation" era, a genre of low-budget films created for African American audiences during the 1970s. Artist Isaac Julien appropriates the look and feel of blaxploitation films, using Baltimore's streets and museums as locations. Julian created this piece while filming Baadasssss Cinema (2002), a documentary on blaxploitation. Julien is a world-renowned British installation artist, filmmaker, and distinguished professor of the arts at the University of California, Santa Cruz.

Photo Credits: Film still from William Selig's Something Good - Negro Kiss (1898), with Saint Suttle and Gertie Brown. Courtesy of USC HMH Foundation Moving Image Archive; The Nicholas Brothers in a scene from Stormy Weather (1943), from left, Fayard Nicholas and Harold Nicholas. Photographic print, gelatin silver. Courtesy Margaret Herrick Library, © Twentieth Century Fox; Portrait of Josephine Baker. Photo by adoc--photos/Corbis via Getty Images; Carmen Jones costume design (Carmen, Change #1), Costume design: Mary Ann Nyberg, c. 1954, courtesy Cinémathèque Française; Photo of Melvin Van Peebles, 1971. Photo by Pix/Michael Ochs Archives/Getty Images.

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