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The Impact of Images: Mamie Till's Courage from Tragedy - UCR ARTS<\/title>\n<meta name=\"description\" content=\"\u201cNew truths begin as heresies.\u201d This truism provided the title for Heresies: A Feminist Publication on Art and Politics, one of the most influential feminist journals of the last fifty years. Published between 1977 and 1993 in New York City, Heresies presented texts and projects by some of the most notable activists, artists, scholars, teachers, and writers of the era. Emerging from the ferment of international, national, and local movements for social justice\u2014including civil rights, women\u2019s equality, gay liberation, decolonization, peace\u2014the journal\u2019s ethos was grounded in a joyfully contentious pluralist feminism. Each issue was crafted by a new editorial collective of volunteers who organized it the issue around a particular theme related to art, theory, and politics. This collective ethos meant that over the course of its run, hundreds of individuals participated in the production of the magazine, enacting a collaborative feminist practice of meaning-making. As stated in the inaugural issue, \u201cWe are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.\u201dHeresies: Still Ain\u2019t Satisfied introduces the journal to a new audience. The exhibition highlights select editorial content to convey the breadth of the journal\u2019s visual and intellectual explorations, its collaborative mode of production, and its radically reflexive process of evaluation\u2014in short, the dynamism of engaged feminist world-making. Critically, this exhibition will serve as a platform for a series of discursive events and conversations that will expand on the journal\u2019s lessons, including its feminist and do-it-yourself mode of working, and its fearlessly self-critical process of intersectional evaluation. Programming organized in collaboration with those who work at, study within, and live alongside UCR will engage with some of the most acute issues of our time, and consider how feminist-informed art and politics can most productively shape new truths.The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett\u2019s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted \u201cto let the world see,\u201d however, are readily found elsewhere should one wish to bear witness.The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett\u2019s cousin, of President Biden signing the \u201cEmmett Till Antilynching Act.\u201d Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today\u2019s generation. This is the \u201cImpact of Images.\u201dThe materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Impact of Images: Mamie Till's Courage from Tragedy - UCR ARTS\" \/>\n<meta property=\"og:description\" content=\"\u201cNew truths begin as heresies.\u201d This truism provided the title for Heresies: A Feminist Publication on Art and Politics, one of the most influential feminist journals of the last fifty years. Published between 1977 and 1993 in New York City, Heresies presented texts and projects by some of the most notable activists, artists, scholars, teachers, and writers of the era. Emerging from the ferment of international, national, and local movements for social justice\u2014including civil rights, women\u2019s equality, gay liberation, decolonization, peace\u2014the journal\u2019s ethos was grounded in a joyfully contentious pluralist feminism. Each issue was crafted by a new editorial collective of volunteers who organized it the issue around a particular theme related to art, theory, and politics. This collective ethos meant that over the course of its run, hundreds of individuals participated in the production of the magazine, enacting a collaborative feminist practice of meaning-making. As stated in the inaugural issue, \u201cWe are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.\u201dHeresies: Still Ain\u2019t Satisfied introduces the journal to a new audience. The exhibition highlights select editorial content to convey the breadth of the journal\u2019s visual and intellectual explorations, its collaborative mode of production, and its radically reflexive process of evaluation\u2014in short, the dynamism of engaged feminist world-making. Critically, this exhibition will serve as a platform for a series of discursive events and conversations that will expand on the journal\u2019s lessons, including its feminist and do-it-yourself mode of working, and its fearlessly self-critical process of intersectional evaluation. Programming organized in collaboration with those who work at, study within, and live alongside UCR will engage with some of the most acute issues of our time, and consider how feminist-informed art and politics can most productively shape new truths.The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett\u2019s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted \u201cto let the world see,\u201d however, are readily found elsewhere should one wish to bear witness.The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett\u2019s cousin, of President Biden signing the \u201cEmmett Till Antilynching Act.\u201d Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today\u2019s generation. This is the \u201cImpact of Images.\u201dThe materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/\" \/>\n<meta property=\"og:site_name\" content=\"UCR ARTS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ucrarts\" \/>\n<meta property=\"article:modified_time\" content=\"2024-10-01T19:06:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/ucrarts.ucr.edu\/wp-content\/uploads\/2023\/05\/gettyimages-515021882-594x594-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"594\" \/>\n\t<meta property=\"og:image:height\" content=\"469\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@ucrarts\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/\",\"url\":\"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/\",\"name\":\"The Impact of Images: Mamie Till's Courage from Tragedy - UCR ARTS\",\"isPartOf\":{\"@id\":\"https:\/\/ucrarts.ucr.edu\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/ucrarts.ucr.edu\/wp-content\/uploads\/2023\/05\/gettyimages-515021882-594x594-1.jpg\",\"datePublished\":\"2023-05-25T19:14:14+00:00\",\"dateModified\":\"2024-10-01T19:06:37+00:00\",\"description\":\"\u201cNew truths begin as heresies.\u201d This truism provided the title for Heresies: A Feminist Publication on Art and Politics, one of the most influential feminist journals of the last fifty years. 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As stated in the inaugural issue, \u201cWe are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.\u201dHeresies: Still Ain\u2019t Satisfied introduces the journal to a new audience. The exhibition highlights select editorial content to convey the breadth of the journal\u2019s visual and intellectual explorations, its collaborative mode of production, and its radically reflexive process of evaluation\u2014in short, the dynamism of engaged feminist world-making. Critically, this exhibition will serve as a platform for a series of discursive events and conversations that will expand on the journal\u2019s lessons, including its feminist and do-it-yourself mode of working, and its fearlessly self-critical process of intersectional evaluation. Programming organized in collaboration with those who work at, study within, and live alongside UCR will engage with some of the most acute issues of our time, and consider how feminist-informed art and politics can most productively shape new truths.The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett\u2019s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted \u201cto let the world see,\u201d however, are readily found elsewhere should one wish to bear witness.The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett\u2019s cousin, of President Biden signing the \u201cEmmett Till Antilynching Act.\u201d Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today\u2019s generation. This is the \u201cImpact of Images.\u201dThe materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. 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Sumner, Mississippi: Mrs. Mamie Bradley, mother of Emmett Louis Till, the 14 year old Negro boy for whose murder two white men are on trial at Sumner, is shown talking to reporters after her appearance at the trial today caused so much furor that a recess was called. Mrs. Bradley flew from Chicago to be present at the trial of Roy Bryant and J.W. 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Published between 1977 and 1993 in New York City, Heresies presented texts and projects by some of the most notable activists, artists, scholars, teachers, and writers of the era. Emerging from the ferment of international, national, and local movements for social justice\u2014including civil rights, women\u2019s equality, gay liberation, decolonization, peace\u2014the journal\u2019s ethos was grounded in a joyfully contentious pluralist feminism. Each issue was crafted by a new editorial collective of volunteers who organized it the issue around a particular theme related to art, theory, and politics. This collective ethos meant that over the course of its run, hundreds of individuals participated in the production of the magazine, enacting a collaborative feminist practice of meaning-making. As stated in the inaugural issue, \u201cWe are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.\u201dHeresies: Still Ain\u2019t Satisfied introduces the journal to a new audience. The exhibition highlights select editorial content to convey the breadth of the journal\u2019s visual and intellectual explorations, its collaborative mode of production, and its radically reflexive process of evaluation\u2014in short, the dynamism of engaged feminist world-making. Critically, this exhibition will serve as a platform for a series of discursive events and conversations that will expand on the journal\u2019s lessons, including its feminist and do-it-yourself mode of working, and its fearlessly self-critical process of intersectional evaluation. Programming organized in collaboration with those who work at, study within, and live alongside UCR will engage with some of the most acute issues of our time, and consider how feminist-informed art and politics can most productively shape new truths.The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett\u2019s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted \u201cto let the world see,\u201d however, are readily found elsewhere should one wish to bear witness.The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett\u2019s cousin, of President Biden signing the \u201cEmmett Till Antilynching Act.\u201d Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today\u2019s generation. This is the \u201cImpact of Images.\u201dThe materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/","og_locale":"en_US","og_type":"article","og_title":"The Impact of Images: Mamie Till's Courage from Tragedy - UCR ARTS","og_description":"\u201cNew truths begin as heresies.\u201d This truism provided the title for Heresies: A Feminist Publication on Art and Politics, one of the most influential feminist journals of the last fifty years. Published between 1977 and 1993 in New York City, Heresies presented texts and projects by some of the most notable activists, artists, scholars, teachers, and writers of the era. Emerging from the ferment of international, national, and local movements for social justice\u2014including civil rights, women\u2019s equality, gay liberation, decolonization, peace\u2014the journal\u2019s ethos was grounded in a joyfully contentious pluralist feminism. Each issue was crafted by a new editorial collective of volunteers who organized it the issue around a particular theme related to art, theory, and politics. This collective ethos meant that over the course of its run, hundreds of individuals participated in the production of the magazine, enacting a collaborative feminist practice of meaning-making. As stated in the inaugural issue, \u201cWe are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.\u201dHeresies: Still Ain\u2019t Satisfied introduces the journal to a new audience. The exhibition highlights select editorial content to convey the breadth of the journal\u2019s visual and intellectual explorations, its collaborative mode of production, and its radically reflexive process of evaluation\u2014in short, the dynamism of engaged feminist world-making. Critically, this exhibition will serve as a platform for a series of discursive events and conversations that will expand on the journal\u2019s lessons, including its feminist and do-it-yourself mode of working, and its fearlessly self-critical process of intersectional evaluation. Programming organized in collaboration with those who work at, study within, and live alongside UCR will engage with some of the most acute issues of our time, and consider how feminist-informed art and politics can most productively shape new truths.The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett\u2019s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted \u201cto let the world see,\u201d however, are readily found elsewhere should one wish to bear witness.The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett\u2019s cousin, of President Biden signing the \u201cEmmett Till Antilynching Act.\u201d Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today\u2019s generation. This is the \u201cImpact of Images.\u201dThe materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.","og_url":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/","og_site_name":"UCR ARTS","article_publisher":"https:\/\/www.facebook.com\/ucrarts","article_modified_time":"2024-10-01T19:06:37+00:00","og_image":[{"width":594,"height":469,"url":"https:\/\/ucrarts.ucr.edu\/wp-content\/uploads\/2023\/05\/gettyimages-515021882-594x594-1.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@ucrarts","twitter_misc":{"Est. reading time":"1 minute"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/","url":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/","name":"The Impact of Images: Mamie Till's Courage from Tragedy - UCR ARTS","isPartOf":{"@id":"https:\/\/ucrarts.ucr.edu\/#website"},"primaryImageOfPage":{"@id":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#primaryimage"},"image":{"@id":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#primaryimage"},"thumbnailUrl":"https:\/\/ucrarts.ucr.edu\/wp-content\/uploads\/2023\/05\/gettyimages-515021882-594x594-1.jpg","datePublished":"2023-05-25T19:14:14+00:00","dateModified":"2024-10-01T19:06:37+00:00","description":"\u201cNew truths begin as heresies.\u201d This truism provided the title for Heresies: A Feminist Publication on Art and Politics, one of the most influential feminist journals of the last fifty years. Published between 1977 and 1993 in New York City, Heresies presented texts and projects by some of the most notable activists, artists, scholars, teachers, and writers of the era. Emerging from the ferment of international, national, and local movements for social justice\u2014including civil rights, women\u2019s equality, gay liberation, decolonization, peace\u2014the journal\u2019s ethos was grounded in a joyfully contentious pluralist feminism. Each issue was crafted by a new editorial collective of volunteers who organized it the issue around a particular theme related to art, theory, and politics. This collective ethos meant that over the course of its run, hundreds of individuals participated in the production of the magazine, enacting a collaborative feminist practice of meaning-making. As stated in the inaugural issue, \u201cWe are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.\u201dHeresies: Still Ain\u2019t Satisfied introduces the journal to a new audience. The exhibition highlights select editorial content to convey the breadth of the journal\u2019s visual and intellectual explorations, its collaborative mode of production, and its radically reflexive process of evaluation\u2014in short, the dynamism of engaged feminist world-making. Critically, this exhibition will serve as a platform for a series of discursive events and conversations that will expand on the journal\u2019s lessons, including its feminist and do-it-yourself mode of working, and its fearlessly self-critical process of intersectional evaluation. Programming organized in collaboration with those who work at, study within, and live alongside UCR will engage with some of the most acute issues of our time, and consider how feminist-informed art and politics can most productively shape new truths.The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett\u2019s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted \u201cto let the world see,\u201d however, are readily found elsewhere should one wish to bear witness.The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett\u2019s cousin, of President Biden signing the \u201cEmmett Till Antilynching Act.\u201d Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today\u2019s generation. This is the \u201cImpact of Images.\u201dThe materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.","breadcrumb":{"@id":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#primaryimage","url":"https:\/\/ucrarts.ucr.edu\/wp-content\/uploads\/2023\/05\/gettyimages-515021882-594x594-1.jpg","contentUrl":"https:\/\/ucrarts.ucr.edu\/wp-content\/uploads\/2023\/05\/gettyimages-515021882-594x594-1.jpg","width":594,"height":469,"caption":"(Original Caption) Mother of \"Whistle\" Murder Victim Meets the Press. Sumner, Mississippi: Mrs. Mamie Bradley, mother of Emmett Louis Till, the 14 year old Negro boy for whose murder two white men are on trial at Sumner, is shown talking to reporters after her appearance at the trial today caused so much furor that a recess was called. Mrs. Bradley flew from Chicago to be present at the trial of Roy Bryant and J.W. Milam, who are accused of killing her son because he \"wolf whistled\" at Bryant's wife."},{"@type":"BreadcrumbList","@id":"https:\/\/ucrarts.ucr.edu\/exhibitions\/the-impact-of-images\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/ucrarts.ucr.edu\/"},{"@type":"ListItem","position":2,"name":"Exhibitions","item":"https:\/\/ucrarts.ucr.edu\/exhibitions\/"},{"@type":"ListItem","position":3,"name":"The Impact of Images: Mamie Till’s Courage from Tragedy"}]},{"@type":"WebSite","@id":"https:\/\/ucrarts.ucr.edu\/#website","url":"https:\/\/ucrarts.ucr.edu\/","name":"UCR ARTS","description":"UCR ARTS brings together the California Museum of Photography (1973) and the Barbara & Art Culver Center of the Arts (2010) located in downtown Riverside, California.","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/ucrarts.ucr.edu\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/exhibitions\/3458","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/exhibitions"}],"about":[{"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/types\/exhibitions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/media\/3459"}],"wp:attachment":[{"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/media?parent=3458"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/categories?post=3458"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/tags?post=3458"},{"taxonomy":"department","embeddable":true,"href":"https:\/\/ucrarts.ucr.edu\/wp-json\/wp\/v2\/department?post=3458"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}