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FOREWORD

During the summer of 1963, at a time of crucial metamorphosis just before the now historic March on Washington, a group of Negro artists met to discuss their position in American society and to explore other common problems. One of those present, the distinguished painter Hale Woodruff, asked the question, "Why are we here?"  He suggested, in answering his own question, that we, as Negroes, could not fail to be touched by the outrage of segregation, or fail to relate to the self-reliance, hope, and courage of those persons who were marching in the interest of man's dignity.

In examining ourselves, we soon realized we were also examining the present health of a wounded American society, as well as much of Western culture. Despite many varying viewpoints, the members of the group felt they had something definitive and positive to affirm. If possible, in these times, we hoped with our art to justify life. In time we came to depend upon one another, and perceived that talent and aptitude were not the only means needed for creativity, since creativity is an aspect of human behavior, comprehensible only in terms of a dynamic social relationship.

As a symbol for the group we chose the spiral — a particular kind of spiral, the Archimedian one; because, from a starting point, it moves outward embracing all directions, yet constantly upward.

Now, after nearly two years of having been together, we have decided for our first public exhibition to use only black and white and eschew other coloration. This consideration, or limitation, was conceived from technical concerns; although deeper motivations may have been involved.

It will be apparent that the works do reflect varying feelings and approaches to art: several reveal that the artist's eyes were fed by nature; another, the painter's basically emotional response; works of Reginald Gammon and Merton Simpson are configured with violent images of conflict; in contrast, the graphics of Bill Majors are lyrical and richly textured; Hale Woodruff's painting, despite a surface freedom, has deliberate exactitude and design.

Time, and judicious judgment, will determine the lasting merit of the work on exhibit. What is most important now, and what has great portent for the future, is that Negro artists, of divergent backgrounds and interests, have come together on terms of mutual respect. It is to their credit that they were able to fashion art works lit by beauty, and of such diversity.