untitled (mob attacking school bus, Lamar, South Carolina), Harvey Dinnerstein
Artwork Overview
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Images
Label texts
Although Dinnerstein spent most of his life in New York and Philadelphia, the 1956 Montgomery, Alabama, bus boycott prompted him to travel to the South to document the Civil Rights Movement. In 1972, Esquire magazine commissioned this painting to illustrate an article about a 1970 incident in Lamar,
South Carolina: Shortly after school desegregation in the rural South, a white mob attacked three school busses carrying black children to Lamar High School. The 150-person mob threw bricks, shattered windows, and successfully overturned two busses before highway patrol used tear gas to drive away the
angry crowd.
Although Dinnerstein spent most of his life in New York and
Philadelphia, the 1956 Montgomery, Alabama, bus boycott
prompted him to travel to the South to document the Civil
Rights Movement. In 1972, Esquire magazine commissioned this
painting to illustrate an article about a 1970 incident in Lamar,
South Carolina: Shortly after school desegregation in the rural
South, a white mob attacked three school busses carrying black
children to Lamar High School. The 150-person mob threw
bricks, shattered windows, and successfully overturned two
busses before highway patrol used tear gas to drive away the
angry crowd.
This painting may have been created to illustrate an article published in Esquire magazine in 1972. It depicts a tragic incident that occurred in response to the use of busing to desegregate schools in the rural South. Responses such as those depicted in this painting demonstrate the often violent reactions that are elicited by shifts in the racial or cultural dynamics of a population-in this case, the compulsory movement of African-American children as a means of achieving desegregation.
This painting may have been created to illustrate an article published in Esquire magazine in 1972. It depicts a tragic incident that occurred in response to the use of
busing to desegregate schools in the rural South. Responses such as those depicted in this painting demonstrate the often violent reactions that are elicited by shifts
in the racial or cultural dynamics of a population-in this case, the compulsory movement of African-American children as a means of achieving desegregation.
This painting may have been created to illustrate an article published in Esquire magazine in 1972. It depicts a tragic incident that occurred in response to the use of
busing to desegregate schools in the rural South. Responses such as those depicted in this painting demonstrate the often violent reactions that are elicited by shifts
in the racial or cultural dynamics of a population-in this case, the compulsory movement of African-American children as a means of achieving desegregation.
This painting may have been created to illustrate an article published in Esquire magazine in 1972. It depicts a tragic incident that occurred in response to the use of
busing to desegregate schools in the rural South. Responses such as those depicted in this painting demonstrate the often violent reactions that are elicited by shifts
in the racial or cultural dynamics of a population-in this case, the compulsory movement of African-American children as a means of achieving desegregation.
Exhibition Label:
"Echoes of Human Migration in the Collection of the Spencer Museum of Art," Mar-2010
This painting may have been created to illustrate an article published in Esquire magazine in 1972. It depicts a tragic incident that occurred in response to the use of
busing to desegregate schools in the rural South. Responses such as those depicted in this painting demonstrate the often violent reactions that are elicited by shifts
in the racial or cultural dynamics of a population-in this case, the compulsory movement of African-American children as a means of achieving desegregation.
Exhibitions
Celka Straughn, curator
Celka Straughn, curator
