The first publication of Ernest Cole’s photographs depicting Black lives in the United States during the turbulent and eventful late 1960s and early ’70s After the publication of his landmark 1967 book House of Bondage on the horrors of apartheid, Ernest Cole moved to New York and received a grant from the Ford Foundation to document Black communities in cities and rural areas of the United States. He released very few images from this body of work while he was alive. Thought to be lost entirely, the negatives of Cole’s American pictures resurfaced in Sweden in 2017. Ernest Cole photographed extensively in New York City, documenting the lively community of Harlem, including a thrilling series of color photographs, as he turned his talent to street photography across Manhattan. In 1968 Cole traveled to Chicago, Cleveland, Memphis, Atlanta, and Los Angeles, as well as rural areas of the South, capturing the mood of different Black communities in the months leading up to and just after the assassination of Martin Luther King Jr. The pictures both reflect a newfound hope and freedom that Cole felt in America, and an incisive eye for inequality as he became increasingly disillusioned by the systemic racism he witnessed. This treasure trove of rediscovered work provides an important window into American society and redefines Cole’s oeuvre, presenting a fuller picture of the life and work of a man who fled South Africa and exposed life under apartheid to the world.

The New York Times bestseller based on the Oscar nominated documentary film In June 1979, the writer and civil rights activist James Baldwin embarked on a project to tell the story of America through the lives of three of his murdered friends: Medgar Evers, Malcolm X and Martin Luther King, Jr. He died before it could be completed. In his documentary film, I Am Not Your Negro, Raoul Peck imagines the book Baldwin never wrote, using his original words to create a radical, powerful and poetic work on race in the United States - then, and today. 'Thrilling . . . A portrait of one man's confrontation with a country that, murder by murder, as he once put it, "devastated my universe"' The New York Times 'Baldwin's voice speaks even more powerfully today . . . the prose-poet of our injustice and inhumanity . . . The times have caught up with his scalding eloquence' Variety 'A cinematic seance . . . One of the best movies about the civil rights era ever made' Guardian 'I Am Not Your Negro turns James Baldwin into a prophet' Rolling Stone