The Smithsonian Anacostia Community Museum’s Community Documentation Initiative (CDI) is an ongoing effort to document and make accessible to the public a wide range of original material on the social, cultural, economic and contemporary community life of urban neighborhoods. While we maintain an emphasis on the Washington, DC metropolitan area, our research and collecting activities include urban communities across the United States and around the world. The Community Documentation Initiative brings the resources of the museum—particularly research materials and archival/object collections—directly to constituents through public programs, gallery exhibitions, digital content, and special programs, as well as builds and enhances interactive dialogue with museum audiences. Using these research and collections materials, the CDI builds collaborative, community-based networks of neighborhood organizations, cultural institutions, and individuals; and works with our audiences to better understand the ways that the museum can help inform social causes of great contemporary concern.Posted by gormanj | 1 comments
During the research process prior to the opening of Gateways/Portales, I had the pleasure of meeting with the artist Cornelio Campos his Durham, North Carolina home-studio several times. I got to sit among his vibrant paintings and works-in-progress, and learn about this soft-spoken artist’s journey. Born in Cherán, Mexico, he arrived in the United States in 1989, moving first to Los Angeles where he worked in construction. Eventually he moved to North Carolina in 1992 after hearing of better job prospects from a cousin. He moved to Epson, North Carolina, where he did farmwork. He later transitioned into landscaping and moved to Durham. He currently works as an alarm installation specialist in addition to being a well-known artist in North Carolina. He has been featured in many group and independent shows, as well as community events throughout the state.
In 2015, the archives at the Durham County Library accessioned and are continuing to build Campos’ archive. His papers include correspondence, sketches, purchase invoices, institutional partnerships, his many exhibitions, as well as commissions, including one for noted Chilean author Isabel Allende. The archive details the depth of his artistic career in addition to his importance in the state of North Carolina as a whole.
Campos’ personal experience of coming to the United States and to Durham in particular, is that of other Latinxs in the region. Many Latinxs started coming to North Carolina in the 1990s, drawn by the promise of work and money. Like Campos, many became farmworkers. In March of 2016, Dr. Ariana Curtis conducted a video interview with Campos for the Anacostia Community Museum’s Gateways/Portales exhibition. During his interview Campos lamented how incredibly taxing farmwork was, and how few people understand what difficult, back-breaking work it is. “No one told me how hard coming to the United States would be.”
Like Campos, many Latinxs found steadier, non-seasonal work, and ended up making Durham their home. The Southeastern United States is currently experiencing some of the largest Latinx population growth in the country. This growth, particularly in urban centers like Durham, is challenging and changing the black-white binary that has dominated the Southeastern United States for decades. Campos’ painting Realidad Norteña (the Reality of the North) helps document that change, as well as confronting viewers with the realities of the immigrant experience.
Campos’ body of work visualizes and examines both the geographic and cultural borders between Latinxs and the larger United States population. Like the “Big Three” Mexican Muralists before him, (Diego Rivera, David Alfaro Siqueiros , and Jose Clemente Orozco), his large scale paintings feature workers and the marginalized as subjects, with social justice as their themes. Campos aims to visualize the dangers and difficulties that people experience not only in crossing the border into the United States, but the severe circumstances that lead to such a decision. Realidad Norteña (the Reality of the North) was painted after Campos became a United States citizen; he describes it as his most personal, autobiographical piece.
The central image of the painting is a female figure that fuses the Virgin of Guadalupe, symbol of Mexico on the left, and the Statue of Liberty on the right, in a rising sun. The rays of the brown Virgin’s mandala mirror the blonde Statue of Liberty’s crown. In the center of the female figure’s chest is a hybrid seal that combines the U.S.’s bald eagle and Mexico’s emblem of a golden eagle devouring a rattlesnake. The eagle stands on a combination of Mexico’s prickly pear cactus and the U.S. olive branch. Spanning the female figure and bridging the two halves is a monarch butterfly, symbol of migration. Beneath the monarch is an orange lily blended with a white flowering dogwood blossom, state flower of North Carolina; the stem of the flower is stylized barbed wire that bisects the bottom of the painting.
On the left of the picture plane, Campos has depicted a mother and child seated in an arid, barren Mexican landscape which merges with the steps of a Pre-Columbian temple. On the right is a segmented landscape, divided from the Mexican side by the barbed wire. In the segment closest to the wire is a desert littered with bones and a faceless, contorted figure, waist-deep in the sand, gazing up at the U.S. flag. Just beyond the flag is a verdant, lush field, tended by hunched farmworkers.
During a September 2016 visit to Campos’ home, he brought out a faded cardboard box. When he lifted the lid I gasped when I saw the contents: the boots he wore as a farmworker when he first came to North Carolina. He then brought out a small, tissue-thin envelope which held his ticket from his journey from Mexico to the U.S. Both the boots and ticket stub are displayed together in the introductory section of Gateways/Portales. The dusty, weathered boots add an even greater weight to Realidad Norteña, hung just across the gallery.
In his video interview for the Gateways/Portales exhibition, which will be part of the ACM permanent collection, Campos discussed how people on opposite ends of the political spectrum have reacted to his work. Shrugging and smiling, Campos noted that he received an intense amount of anti-immigrant backlash when the University of North Carolina, Chapel Hill bought and displayed his work, but despite the negative feedback, he was pleased that his art was sparking discussion. He says he sees his work as a form of visual documentation, and as he says, “cultural diplomacy”. In addition to the University of North Carolina, Chapel Hill, Campos has worked with several institutions throughout the state including Duke University, Johnston Community College, Peace College, North Carolina State University, and Smithsonian affiliate North Carolina Museum of History to try and educate and create a dialogue between the Latinx and the non-Latinx communities.
Realidad Norteña has recently been acquired by ACM, and will be on display as part of the Gateways/Portales exhibition, on view until August 6, 2017.
[this post is written by Elena Muñoz]
Elena C. Muñoz received her MA in Art History from Rutgers University, and her BA in Art History from Fordham University. Her primary research interest is teasing out the African influences in Latin American
and Latino art. She is also fascinated with the evolution and uses of Marian imagery in the Americas. In 2014, she was a recipient of the Smithsonian’s Latino Museum Studies fellowship, working with the Teodoro Vidal Collection at the Lunder Center and the Smithsonian American Art Museum. Currently she is a research assistant at the Anacostia Community Museum, working on the exhibition Gateways/Portales, which examines Latino im/migration in the D.C. Metro Area, Baltimore, the Raleigh-Durham region of North Carolina, and Charlotte, North Carolina.
Cornelio Campos is a self-trained painter from Cheran, Michoacan,Mexico who now resides in Durham, North Carolina. He has been painting since childhood, although the strong themes present in many of his paintings did not surface until he became an American citizen as an adult. His earlier works show a Mexican folkloric influence, whereas his more recent works are quite contextual, mixing ancient and modern styles, themes and images. Campos paints with a passion for educating others, primarily on the migrant experience, and for sharing the customs and culture of his people, Purepecha from Cherán. His work has been shown at exhibits throughout North Carolina, including Duke and UNC – Chapel Hill, where some of his pieces are permanently on display.Posted by Ariana Curtis | 0 comments
Book Review: Public Housing, Urban Development in Byker by Sirkka-Liisa Konttinen at the Anacostia Community Museum Library
But now you don’t care if your neighbor looks at ye. She might have fifty watches and she’ll not give you the time . . . ” – Byker by Sirrka-Liisa Konttinen
Published in 1985, and representing over 12 years of work by Finnish photographer Sirrka-Liisa Konttinen, who lived in this working-class community in Newcastle for 7 years, Byker depicts the last days of this public housing development before it was razed in the 1970s to make room for a world-famous architect’s design, the Byker Wall Estate by Ralph Erskine and home to 9,500 people.
Here in Washington, D.C.’s Ward 8, the community of Barry Farm is facing similar issues of relocation and development and there are a few local photographers working in those communities producing work, but none of whom I am aware actually live there while engaging in such a dedicated documentation of this community specificity as exemplified in Byker. Her focus and persistence in following this now very different community is remarkable.
The Anacostia Community Museum is lucky to own a second-hand copy annotated by an original Byker resident. How wonderful it is to see his/her inscriptions under some of the photographs confirming the veracity of Ms. Konttinen’s portrayal of the Byker spirit.
Perhaps most significantly for us, Byker serves as a cautionary tale in the breaking up and restructuring a community. Much as the Barry Farm Community was bifurcated by the building of Suitland Parkway in the 1940’s, and then further overwhelmed by the relocation of the majority of public housing to east of the Anacostia River in the 1960s, so is the United Kingdom facing a second wave of public housing redevelopment, though Byker Wall is being spared this time, as the original Byker was not in the 1970s.
Despite the authorities best efforts at engaging the community and encouraging participation – architect Erskine famously set up shop in a defunct funeral parlor in the Byker community hosting open hours for residents – less than 20 percent of the original Byker residents returned after the new Byker Wall had been erected.
“Over 17,000 people lived in Byker at the start of the redevelopment. Fewer than 20% of them were living in the New Byker in 1976. One is only left to speculate what would have happened had the policy not been to retain the community, ” Peter Malpass wrote in a commission by the Department of the Environment quoted in the afterword in Byker.
Through Ms. Konttinen’s work in Byker we can see the effects of the forces of neighborhood change and renewal on one specific populace. In the photographer’s follow-up work in Byker Revisited, the viewer gets more of a sense that isolation and dislocation have taken hold over Byker, even as the subjects of her camera’s gaze become more multicultural and diverse.
To see this book in person as well as browse other titles in our growing urban community photography book collection, you can come to the Anacostia Museum Library (let us know that you are coming and we will pull the book for you), more information on how to contact us and hours is available here.
More resources on neighborhood change and Byker:
See more of Sirrka-Liiisa Konttinen’s work here:Posted by Susana Raab | 0 comments
Urban Waterways and Critical Issues
This issue was inspired by the events in the city of Flint and the rude realization for many that Flint was not the first, and will not be the last, community to face the daily realities of an insecure water supply. Our contributors in DC, Los Angeles, and Flint explore some of the critical issues facing urban waterways and their communities. urban-waterways-newsletter-issue-7Posted by Katrina Lashley | 0 comments
On this day in 1531 the Virgin of Guadalupe was said to have appeared in Mexico to an indigenous man, Juan Diego.
The dark-skinned Guadalupe is often interpreted as a coming together of Spanish and indigenous cultures in Mexico. Her name, Guadalupe is the Spanish pronunciation of the Nahuatl name Coatlaxopeuh, a Mesoamerican fertility goddess. Her appearance to an indigenous man in the New World further rooted Guadalupe to the specificity of this place.
The Virgin of Guadalupe is a powerful religious and cultural icon for Mexico and Mexican-Americans. Her green mantle and golden mandala are readily recognizable to people outside of those groups. She is not only a visualization of faith, but also a symbol of nationalism, cultural pride, and resistance for those in Mexico and beyond its national borders.
Of the four areas explored in Gateways/Portales, Mexicans are the dominant Latinx group in Baltimore, Raleigh-Durham, and Charlotte. In Washington, D.C. metro area, Mexicans are second to Salvadorans. As a result of Mexican migrations throughout the US and the power of her imagery, Guadalupe appears in various iterations throughout the Gateways/Portales exhibition.
La Virgin de Guadalupe was declared the patroness for the entire Continental Americas by the Catholic Church in 1945. Though she is most often associated with Mexico and Mexican-American culture, she was not specifically designated as the patroness for Mexico until 2002. Guadalupe acts as a sort of cultural glue in the U.S., with her imagery and associated ceremonies being transplanted, creating a sense of community and solidarity among her devotees in Mexico and beyond. December 12th marks the Feast of Our Lady of Guadalupe in the United States!
Gateways is open! Through the lenses of social justice, constructing communities, and festivals as community empowerment, the exhibition explores the triumphs and struggles of Latinx migrants and immigrants in four urban destinations: Washington, D.C., Baltimore, MD, Raleigh-Durham, NC and Charlotte, NC
written with Elena C. Muñoz, research/curatorial assistant for the Gateways exhibition.Posted by Ariana Curtis | 0 comments
Today is Mother’s Day in Panama!
Most people know that I am Panamanian. Orgullosamente! Only some people know, however, that my father is Panamanian and my mother is African-American. Interestingly, this did not factor into Gateways until a meeting with Charlotte based artist Nico Amortegui.
Nico, born and raised in Bogotá, Colombia, has lived and worked in the United States since the late 1990s. He is quick to say, one of the main reasons he is here and that he lives in Charlotte is his wife and two daughters.
Early in our exhibition stages when I was deciding what the salient themes were and how they would be represented, I met with Nico in his studio. We discussed some of his recent work, the growing population of Latinx in Charlotte, Latin American vs Latinx, and the restrictive focus on Latin Americans/Latinxs. THAT was the inspiration for his piece in Gateways: He wanted to create a piece that focused on Latinxs, but one that included space for his wife – who is not Latina- and his children.
When his work was in process I referred to it as “blended families” but Nico’s original piece created for the Gateways exhibition is called An Immigrant Connection to a Country of Immigrants. In his words,
It is based on the fact that when we talk about Latinos we blur out the Americans (United States) that have embrace the Latino culture and have made it part of their life.
This beautiful work is in the “Making Home, Constructing Communities” section of the exhibition, but the message resonates throughout the whole exhibition. When we fight for social justice and civil rights, when we build networks, when we celebrate our communities we do not do this alone. It is never ONLY the Latinx community and it is never only FOR Latinx communities.
This is the story of millions of families in the United States, including mine. So in the spirit of this piece, I say Happy Panamanian Mother’s Day to my mom who has embraced the culture and made it part of our lives. Although my mother is African-American, she has a big Panamanian family is mother to Panamanian children so …
HAPPY MOTHER’S DAY, MOM!!!
Gateways is open! Through the lenses of social justice, constructing communities, and festivals as community empowerment, the exhibition explores the triumphs and struggles of Latinx migrants and immigrants in four urban destinations: Washington, D.C., Baltimore, MD, Raleigh-Durham, NC and Charlotte, NCPosted by Ariana Curtis | 1 comments