None of them were published by The Times--until now. UNSEEN uncovers these never-before published photographs and tells the stories behind them.It all started with Times photo editor Darcy Eveleigh discovering dozens of these photographs. She and three colleagues, Dana Canedy, Damien Cave and Rachel L. Swarns, began exploring the history behind them, and subsequently chronicling them in a series entitled Unpublished Black History, that ran in print and online editions of The Times in February 2016. It garnered 1.7 million views on The Times website and thousands of comments from readers. This book includes those photographs and many more, among them: a 27-year-old Jesse Jackson leading an anti-discrimination rally of in Chicago, Rosa Parks arriving at a Montgomery Courthouse in Alabama a candid behind-the-scenes shot of Aretha Franklin backstage at the Apollo Theater, Ralph Ellison on the streets of his Manhattan neighborhood, the firebombed home of Malcolm X, Myrlie Evans and her children at the funeral of her slain husband , Medgar, a wheelchair-bound Roy Campanella at the razing of Ebbets Field.Were the photos--or the people in them--not deemed newsworthy enough? Did the images not arrive in time for publication? Were they pushed aside by words at an institution long known as the Gray Lady? Eveleigh, Canedy, Cave, and Swarms explore all these questions and more in this one-of-a-kind book. UNSEEN dives deep into The Times photo archives--known as the Morgue--to showcase this extraordinary collection of photographs and the stories behind them.

    She is best known as the first foreign photographer permitted to take pictures of Soviet industry, the first female war correspondent (and the first woman permitted to work in combat zones) and the first female photographer for Henry Luce's Life magazine, where her photograph appeared on the first cover. She died of Parkinson's disease about eighteen years after she developed her first symptoms.

    In 1980, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1968, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.Whitewalling: Art, Race, & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

    Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.

    To address this void, they started a blog. Now with an annual readership of nearly one million, their posts foster dialogue about activist methods, intersectionality, and sisterhood. And the writers' personal identities—as black women; as sisters, daughters, and lovers; and as television watchers, sports fans, and music lovers—are never far from the discussion at hand.These essays explore "Sex and Power in the Black Church," discuss how "Clair Huxtable is Dead," list "Five Ways Talib Kweli Can Become a Better Ally to Women in Hip Hop," and dwell on "Dating with a Doctorate (She Got a Big Ego?)." Self-described as "critical homegirls," the authors tackle life stuck between loving hip hop and ratchet culture while hating patriarchy, misogyny, and sexism.Brittney Cooper is an assistant professor at Rutgers University. In addition to a weekly column in Salon.com, her words have appeared in the New York Times, the Washington Post, Cosmo.com, and many others. In 2013 and 2014, she was named to the Root.com's Root 100, an annual list of Top Black Influencers.Susana M. Morris received her Ph.D. from Emory University and is currently an associate professor of English at Auburn University.Robin M. Boylorn is assistant professor at the University of Alabama. She is the author of the award-winning monograph Sweetwater: Black Women and Narratives of Resilience (Peter Lang, 2013).

    A work that rethinks gender as a Western construction, The Invention of Women offers a new way of understanding both Yoruban and Western cultures. Author Oyeronke Oyewumi reveals an ideology of biological determinism at the heart of Western social categories-the idea that biology provides the rationale for organizing the social world. And yet, she writes, the concept of OC woman, OCO central to this ideology and to Western gender discourses, simply did not exist in Yorubaland, where the body was not the basis of social roles. Oyewumi traces the misapplication of Western, body-oriented concepts of gender through the history of gender discourses in Yoruba studies. Her analysis shows the paradoxical nature of two fundamental assumptions of feminist theory: that gender is socially constructed and that the subordination of women is universal. The Invention of Women demonstrates, to the contrary, that gender was not constructed in old Yoruba society, and that social organization was determined by relative age. A meticulous historical and epistemological account of an African culture on its own terms, this book makes a persuasive argument for a cultural, context-dependent interpretation of social reality. It calls for a reconception of gender discourse and the categories on which such study relies. More than that, the book lays bare the hidden assumptions in the ways these different cultures think. A truly comparative sociology of an African culture and the Western tradition, it will change the way African studies and gender studies proceed. "

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    In this collection, founding members of the organization and contemporary activists reflect on the legacy of its contributions to black feminism and its impact on today's struggles.

    Hurtful and dishonest, such representations force African American women to navigate a virtual crooked room that shames them and shapes their experiences as citizens. Many respond by assuming a mantle of strength that may convince others, and even themselves, that they do not need help. But as a result, the unique political issues of black women are often ignored and marginalized.In this groundbreaking book, Melissa V. Harris-Perry uses multiple methods of inquiry, including literary analysis, political theory, focus groups, surveys, and experimental research, to understand more deeply black women's political and emotional responses to pervasive negative race and gender images. Not a traditional political science work concerned with office-seeking, voting, or ideology, Sister Citizen instead explores how African American women understand themselves as citizens and what they expect from political organizing. Harris-Perry shows that the shared struggle to preserve an authentic self and secure recognition as a citizen links together black women in America, from the anonymous survivors of Hurricane Katrina to the current First Lady of the United States.

    Girl, Woman, Other was named a favorite book of the year by President Obama and Roxane Gay, was translated into thirty-five languages, and has now reached more than a million readers.Evaristo's astonishing nonfiction debut, Manifesto, is a vibrant and inspirational account of Evaristo's life and career as she rebelled against the mainstream and fought over several decades to bring her creative work into the world. With her characteristic humor, Evaristo describes her childhood as one of eight siblings, with a Nigerian father and white Catholic mother, tells the story of how she helped set up Britain's first Black women's theatre company, remembers the queer relationships of her twenties, and recounts her determination to write books that were absent in the literary world around her. She provides a hugely powerful perspective to contemporary conversations around race, class, feminism, sexuality, and aging. She reminds us of how far we have come, and how far we still have to go. In Manifesto, Evaristo charts her theory of unstoppability, showing creative people how they too can visualize and find success in their work, ignoring the naysayers.Both unconventional memoir and inspirational text, Manifesto is a unique reminder to us all to persist in doing work we believe in, even when we might feel overlooked or discounted. Evaristo shows us how we too can follow in her footsteps, from first vision, to insistent perseverance, to eventual triumph.

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    Reflecting her transcendent electric voice, this searing poetry collection is filled with moving, original stanzas that speak to both Black women’s creative and intellectual power, and express the pain, sadness, and anger of those who suffer constant scrutiny because of their gender and race. Fierce and passionate, Jessica Care moore argues that Black women spend their lives building a physical and emotional shelter to protect themselves from misogyny, criminalization, hatred, stereotypes, sexual assault, objectification, patriarchy, and death threats.We Want Our Bodies Back is an exploration—and defiant stance against—these many attacks.

      MK Asante was born in Zimbabwe to American parents: a mother who led the new nation’s dance company and a father who would soon become a revered pioneer in black studies. But things fell apart, and a decade later MK was in America, a teenager lost in a fog of drugs, sex, and violence on the streets of North Philadelphia. Now he was alone—his mother in a mental hospital, his father gone, his older brother locked up in a prison on the other side of the country—and forced to find his own way to survive physically, mentally, and spiritually, by any means necessary. Buck is a powerful memoir of how a precocious kid educated himself through the most unconventional teachers—outlaws and eccentrics, rappers and mystic strangers, ghetto philosophers and strippers, and, eventually, an alternative school that transformed his life with a single blank sheet of paper. It’s a one-of-a-kind story about finding your purpose in life, and an inspiring tribute to the power of education, art, and love to heal and redeem us.

    Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present.The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world.This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions.Each copy comes with a punch-out gorilla mask that invites readers to step up and join the movement themselves.Captions by the Guerrilla Girls themselves contextualize the visuals.Explores their well-researched, intersectional takedown of the patriarchyIn 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists.They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since.More than a monograph, this book is a call to arms.This career-spanning volume is published to coincide with their 35th anniversary.Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activistsAdd it to the shelf with books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

    Although best-known for her work A Raisin in the Sun, her short life was full of extraordinary experiences and achievements, and she had an unflinching commitment to social justice, which brought her under FBI surveillance when she was barely in her twenties. While her close friends and contemporaries, like James Baldwin and Nina Simone, have been rightly celebrated, her story has been diminished and relegated to one work—until now. In 2018, Hansberry will get the recognition she deserves with the PBS American Masters documentary "Lorraine Hansberry: Sighted Eyes/Feeling Heart" and Imani Perry's multi-dimensional, illuminating biography, Looking for Lorraine.After the success of A Raisin in the Sun, Hansberry used her prominence in myriad ways: challenging President Kennedy and his brother to take bolder stances on Civil Rights, supporting African anti-colonial leaders, and confronting the romantic racism of the Beat poets and Village hipsters. Though she married a man, she identified as lesbian and, risking censure and the prospect of being outed, joined one of the nation's first lesbian organizations. Hansberry associated with many activists, writers, and musicians, including Malcolm X, Langston Hughes, Duke Ellington, Paul Robeson, W.E.B. Du Bois, among others. Looking for Lorraine is a powerful insight into Hansberry's extraordinary life—a life that was tragically cut far too short.