Life Magazine, April 19, 1968

Alfredo Jaar, Life Magazine, April 19, 1968, 1995, three chromogenic prints, overall: 61 x 120 in. (154.9 x 304.8 cm), Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2013.39A-C, © Alfredo Jaar, Courtesy Galerie Lelong, New York

Artwork Details

Title
Life Magazine, April 19, 1968
Artist
Date
1995
Location
Not on view
Dimensions
overall: 61 x 120 in. (154.9 x 304.8 cm)
Copyright
© Alfredo Jaar, Courtesy Galerie Lelong, New York
Credit Line
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment
Mediums Description
three chromogenic prints
Classifications
Object Number
2013.39A-C
Linked Open Data
https://edan.si.edu/saam/id/object/2013.39A-C

Artwork Description

When Chilean-born artist Alfredo Jaar moved to New York in 1982, he was troubled to discover that racial tensions still ran high long after the civil rights movement had passed its zenith. In Life Magazine, April 19, 1968, he manipulated the iconic photograph of Dr. Martin Luther King Jr.'s funeral procession to highlight the disparity between the number of black and white mourners. Jaar's decision to present the work as a triptych, a traditional format for Christian altarpieces, helps identify King as a martyr.

Works by this artist (4 items)

Martín Ramírez, Soldado with American Flag, ca. 1950-1953, crayon, watercolor, pencil on various papers, Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr. and museum purchase made possible by Ralph Cross Johnson, 1986.65.194
Soldado with American Flag
Artist
Dateca. 1950-1953
crayon, watercolor, pencil on various papers
Not on view
Martín Ramírez, Untitled (Chorus Line), ca. 1950, watercolor, crayon and pencil on joined papers, Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr., 1991.96.4R
Untitled (Chorus Line)
Artist
Dateca. 1950
watercolor, crayon and pencil on joined papers
Not on view
Martín Ramírez, Untitled (Church), ca. 1950, crayon, pencil, and watercolor on various joined papers, Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr. and museum purchase made possible by Ralph Cross Johnson, 1986.65.192
Untitled (Church)
Artist
Dateca. 1950
crayon, pencil, and watercolor on various joined papers
Not on view
Martín Ramírez, Our Lady of the Immaculate Conception, ca. 1953, crayon, pencil, and colored pencil on joined papers, Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr. and museum purchase made possible by Ralph Cross Johnson, 1986.65.193
Our Lady of the Immaculate Conception
Artist
Dateca. 1953
crayon, pencil, and colored pencil on joined papers
Not on view

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      When Chilean-born artist Alfredo Jaar moved to New York in 1982, he was troubled to discover that racial tensions still ran high long after the civil rights movement had passed its zenith. In Life Magazine, April 19, 1968, he manipulated the iconic photograph of Dr. Martin Luther King Jr.'s funeral procession to highlight the disparity between the number of black and white mourners. Jaar's decision to present the work as a triptych, a traditional format for Christian altarpieces, helps identify King as a martyr.

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