Paper

Student Artwork Guide

Children Playing

Name Class Date

Benny Andrews, Children Playing (2005), National Center for Civil and Human Rights. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Benny Andrews originaluniqueart.com/en/artists/benny-andrews/
Artist’s dates
1930 – 2006
Painted
2005
Movement
SocialRealism
Held at
National Center for Civil and Human Rights originaluniqueart.com/en/museums/national-center-for-civil-and-human-rights-atlanta/

In context

Children Playing — Benny Andrews

When was this painted?

  1. 1930
  2. 1940
  3. 1950
  4. 1960
  5. 1970
  6. 1980
  7. 1990
  8. 2000

Shaded: the lifetime of Benny Andrews (1930–2006) ▲ this work, 2005

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/benny-andrews-children-playing-D8K36Z-en/

Colours

Measured from the image

    Main colour

    Celadon #bccdd6

    Catalogued palette

    • #BCCDD6
    • #D4BC86
    • #8D8253
    • #2A4133
    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Celadon
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    Benny Andrews

    Born in Plainview, United States of America

    Benny Andrews: Life & Legacy

    Early Life and Education

    Born: November 13, 1930, in Plainview, Georgia.

    Andrews grew up in a large family of ten children. His mother, Viola, instilled the importance of education, religion, and freedom of expression.

    Early Influences: His father, George Andrews, was a self-taught artist known locally as the “Dot Man,” who sparked Benny’s initial interest in art.

    He attended Fort Valley College on a two-year scholarship but left due to financial constraints and academic struggles.

    Andrews served in the U.S. Air Force from 1950 before pursuing formal artistic training.

    Artistic Development & Career

    Andrews received his BFA from the School of the Art Institute of Chicago.

    He held his first solo exhibition in New York City in 1962, marking a significant step in his career.

    From 1968 to 1997, Andrews dedicated himself to teaching at Queens College, City University of New York.

    Prison Arts Program: He founded and directed a groundbreaking prison arts program that became a national model for rehabilitation through artistic expression.

    His work evolved into an expressive style characterized by bold colors and forms used to convey powerful emotions and social commentary.

    Themes & Influences

    Key Themes: Andrews’ art frequently addressed themes of suffering, injustice, racial inequality, and the African American experience.

    His work often served as a visual protest against social and political issues of his time.

    He drew inspiration from personal experiences, observations of everyday life, and historical events.

    Artistic Influences: While developing his unique style, Andrews was influenced by various artistic movements, including Expressionism and Social Realism.

    Notable Works

    Confrontation 2 (John Lewis Series): A powerful painting reflecting on the Civil Rights Movement and the struggles for equality.

    No More Games: A work that confronts issues of social injustice and inequality with raw emotion.

    Death of the Crow (1965): An early example of his expressive style, rendered in black and white oil on canvas.

    Legacy & Historical Significance

    Benny Andrews’ work is featured in museum collections such as the Museum Collection Hugo Fischer (Bühl, Germany) and the Ogden Museum of Southern Art in New Orleans.

    Impact on Arts Education: His prison arts program demonstrated the transformative power of art for individuals facing incarceration.

    Andrews’ artistic contributions helped to raise awareness about social issues and promote dialogue around race, inequality, and justice.

    He passed away on November 10, 2006, leaving behind a lasting legacy as an artist, educator, and advocate for social change.

    Museum

    National Center for Civil and Human Rights

    On show in Atlanta, United States of America

    A Monument of Resilience: The Architecture of Empathy

    In the heart of Atlanta’s vibrant Centennial Olympic Park district, where the energy of the city meets a profound sense of historical gravity, stands the National Center for Civil and Human Rights. This is not merely a museum in the traditional sense; it is a masterwork of architectural storytelling designed by Philip Freelon. The building itself serves as a deliberate provocation against the shadows of oppression, utilizing angular planes and soaring, light-filled spaces to create a dialogue between hardship and hope. As one approaches the textured concrete façade, the jagged contours evoke the grit and struggle of the Civil Rights Movement, while the upward thrust of the structure symbolizes an unyielding aspiration toward liberty. For the art lover and the admirer of structural narrative, the museum offers a rare opportunity to experience how physical space can be engineered to foster deep emotional connection and contemplation.

    The interior experience is defined by a seamless transition from the heavy weight of history to the luminous promise of the future. Natural light floods through expansive galleries, acting as a metaphor for the clarity and truth sought by activists throughout the decades. This intentional use of light and volume creates an atmosphere where the visitor does not just observe history but inhabits it. For interior designers and curators, the museum represents a pinnacle of how materiality—from the raw strength of concrete to the ethereal quality of sunlight—can be harnessed to support a profound social mission, making it a landmark of both civic importance and aesthetic brilliance.

    Voices of the Movement: The Soul of the Collection

    At the core of the Center’s collection lies an intimate and visceral connection to the architects of change. The "Voice to the Voiceless: The Morehouse College Martin Luther King, Jr. Collection" offers a breathtakingly personal encounter with history, housing handwritten drafts of iconic speeches, including the legendary "Letter from Birmingham Jail." To stand before these documents is to witness the intellectual and emotional landscape of Dr. King, feeling the weight of every stroke of his pen. This collection transcends mere archival preservation; it breathes life into the persuasive power that fueled a global movement, allowing the echoes of the past to resonate within the contemporary moment.

    The museum’s narrative strength is further amplified by its ability to blend historical documentation with immersive multimedia artistry. In exhibitions such as "Rolls Down Like Water: The American Civil Rights Movement," the boundaries between spectator and participant dissolve. Through the use of interactive projections and evocative visual storytelling, visitors are transported into the heart of pivotal moments—from the tension of sit-ins to the rhythmic determination of great marches. This fusion of historical fact and sensory experience ensures that the struggle for equality is felt as a living, breathing reality rather than a static memory.

    A Global Horizon: The Universal Pursuit of Dignity

    What truly distinguishes the National Center for Civil and Human Rights from its contemporaries is its expansive, global perspective. While deeply rooted in the American experience, the museum deliberately bridges the gap between local struggles and universal human rights concerns. The curation courageously delves into the complexities of modern slavery, armed conflict, and systemic discrimination, prompting a profound reflection on the shared dignity of all people. By connecting the triumphs of the American Civil Rights Movement to contemporary global challenges, the museum transforms from a site of remembrance into a catalyst for worldwide advocacy.

    This commitment to an enduring legacy is evident in the museum's ongoing evolution. As it undergoes thoughtful renovations to enhance accessibility and deepen its immersive capabilities, the Center continues to refine its role as a beacon of hope. It remains a sanctuary for those who seek to understand how past struggles inform our present realities and how we might collectively architect a more just and equitable world. For collectors of culture and seekers of truth, the National Center for Civil and Human Rights stands as an indispensable landmark where history, art, and humanity converge.

    Where to read more

    Find this online

    QR code linking to the download page for Children Playing

    originaluniqueart.com/en/art/download/benny-andrews-children-playing-D8K36Z-en/

    Cite this artwork

    MLA
    Andrews, Benny. Children Playing. 2005, National Center for Civil and Human Rights. https://originaluniqueart.com/en/art/benny-andrews-children-playing-D8K36Z-en/
    APA
    Andrews, Benny (2005). Children Playing [Painting]. National Center for Civil and Human Rights. https://originaluniqueart.com/en/art/benny-andrews-children-playing-D8K36Z-en/
    Chicago
    Benny Andrews. Children Playing. 2005. National Center for Civil and Human Rights. https://originaluniqueart.com/en/art/benny-andrews-children-playing-D8K36Z-en/
    Harvard
    Andrews, Benny (2005) Children Playing. National Center for Civil and Human Rights. Available at: https://originaluniqueart.com/en/art/benny-andrews-children-playing-D8K36Z-en/

    Look closely

    Children Playing — Benny Andrews

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: civil rights movement, african american history, social justice art. Do you agree? What would you add, or take away?
    4. Look back at John Lewis Speaking at the March on Washington (John Lewis Series) (2005), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Benny Andrews was about 75 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.