Flashback Friday: Good Hope Road

 

Commercial buildings and traffic along Good Hope Road in 1975.   Learn more here.

#FlashbackFriday

An Immigrant’s Journey: Cornelio Campos and Gateways

Cornelio Campos

 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.

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Realidad Norteña by Cornelio Campos, 2016 Anacostia Community Museum, Smithsonian Institution

 

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.

The exhibition, "Gateways/Portales," curated by Dr. Ariana Curtis at the Anacostia Community Museum from December 5, 2016 - August 6, 2017. Photo by Susana Raab/Anacostia Community Museum/Smithsonian Instituion

Campos’ boots and ticket from Mexico are on display in the introduction of Gateways/Portales

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]

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Elena C. MunozElena 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-in-studioCornelio 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.

December 12th – La Virgen de Guadalupe

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.

 

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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.

 

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She is representative of Mexico in Cornelio Campos’ autobiographical painting Realidad Norteña in “Social Justice & Civil Rights”.

 

 

 

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She is reimagined as an armed millennial in Rosalia Torres-Weiner’s  Madre Protectora displayed in “Making Home and Constructing Communities”.

 

 

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Displayed beneath Torres-Weiner’s painting is a photograph of the altar dedicated to the Virgin of Guadalupe in Baltimore’s Sacred Heart of Jesus Church.

 

 

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Artist Gabriela Lujan placed a candle emblazoned with the Virgin’s image on the Day of the Dead altar in the “Festival as Community Empowerment” section.

 

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High in the festival portal is an image of a diablo dancer resting on the base of an handmade altar for the Virgin after a performance in Durham, NC on her feast day.

 

 

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!

 

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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. 

Blended Families – Gateways and Mother’s Day

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 GatewaysHe wanted to create a piece that focused on Latinxs, but one that included space for his wife – who is not Latina- and his children.

An Immigrant Connection to a Country of Immigrants Nico Amortegui, 2016 Anacostia Community Museum, Smithsonian Institution

An Immigrant Connection to a Country of Immigrants
Nico Amortegui, 2016
Anacostia Community Museum, Smithsonian Institution

 

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 …

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little me sleeping on my mother in New York

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my mom and me at the Bridging the Americas Opening, 2015

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la familia en Panama, 2009

 

 

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, NC

Sullivan Family: Service through the Generations

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In honor of Veteran’s Day, the Museum is showcasing the Sullivan Family Collection. Several generations of Sullivans served the country by joining the armed forces or otherwise aiding in military efforts.

Many of the Museum’s holdings relate to family history and community life. Photographs, documents, treasured heirlooms and the accompanying stories reveal the lives of men and women whose efforts contributed to shaping history.

Almost a century ago, Theodore M. Sullivan enlisted in the U.S. army to fight in World War I. His Enlistment Record lists his character as “excellent,” and indicates that he was involved in the battle at Verdun, France. Several photographs show him in uniform. Mr. Sullivan was awarded the Purple Heart medal for military merit for eleven different wounds he sustained while fighting in Europe in 1918.

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In subsequent years, Mr. Sullivan was active in the James E. Walker Post 26 of the American Legion, a wartime veterans’ organization formed in 1919. In this photograph, he is pictured in the middle, third from the top, during a visit of his Post to Washington, DC in 1940.

Other members of the Sullivan family continued a tradition of service for many decades. Theodore’s half-sister, Sadie Thompson, served in the Boston Chapter of the American Red Cross for over half a century, and all of Theodore’s sons enlisted in the armed forces during World War II. Edwin joined the U.S. Navy, while Earle entered the Tuskegee Institution’s program for training the first African American military pilots, now known as the “Tuskegee Airmen.” He was well into his training before his untimely death at the end of 1943.

The display will be on view through November 16, 2016.

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Collections Highlight: Joy McLean Bosfield Papers

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A page from Scrapbook II, 1945-1985. Joy McLean Bosfield Papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Joy McLean Bosfield.

Joy McLean Bosfield (1924-1991) was a singer, musical director, actress, and musical instructor who performed throughout the United States, Europe, and the Middle East from the 1940s to the 1980s.  Her papers in the Anacostia Community Museum Archives, documents Ms. McLean Bosfield’s professional career through photographs, correspondence, programs, and scrapbooks.

Joy was born on January 27, 1924 to John and Florence Mearimore.  Her mother, an immigrant from Demerara, Guiana (now part of Guyana), married McLean’s father, a prominent New York businessman, in March of 1923 in New Jersey.  Joy lived in Paramus, New Jersey until 1940, when she graduated from Ridgewood High School.  During that same year Bosfield was accepted to the prestigious Hunter College, in New York.

On February 26, 1945, McLean Bosfield performed her first recital at St. Martin’s Little Theatre. Three years later in 1948, McLean married Charles McLean, who was originally from British Guyana, and the couple moved to England.  She began performing in Europe in the early 1950s, singing soprano leads for productions for the BBC, British churches, and English musical plays. While in London, an American production of Porgy and Bess used her talents during their international tours as a rehearsal accompanist, vocal role coach, and assistant to the musical director.

After returning to the United States in the mid-1950s, Bosfield continue her career as a concert artist. In 1963 she moved to Washington, DC, where she became musical director of John Wesley AME Zion Church. She also worked for the Frederick Wilkerson Studio of Voice as a vocal coach, and managed the studio after the death of Wilkerson until the 1980s.

Retiring and moving to Chapala, Mexico in 1985, Bosfield participated in community theater productions and other community functions there, until her death on April 4, 1999.

Do you want to learn more about Joy McLean Bosfield’s long and distinguished career?  You can by helping transcribe her two fragile scrapbooks in the Smithsonian Transcription Center.

Joy McLean Bosfield Scrapbook I, 1923-1964

Joy McLean Bosfield Scrapbook II, 1945-1985

 

New Acquisition! Guadalupe has a gun

The following post is by Elena C. Muñoz, research/curatorial assistant for the Gateways exhibition. 

Happy Latinx Heritage Month! 

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When we met with Rosalia Torres-Weiner  in March of 2016, she was one of the artists-in-residence at Latin American Contemporary Art Projects (LaCa) in Charlotte. Wearing colorful and elaborately decorated cowboy boots, she greeted us with a big smile and hugs before sitting us down in her brightly decorated studio-space. Her space at LaCa was decorated with large paper flowers, Calaveras, panels from her children’s story “the Magic Kite” which had just been turned into a play by the Children’s Theatre of Charlotte, and of course, her vibrant, patterned paintings.

High on the front wall of her studio, she had painted, “I AM AN ARTIVIST AND I BELIEVE IN ACTIVISM THROUGH MY ART.”

Rosalie Torres-Weiner's Charlotte, NC studio in March 2016

Rosalie Torres-Weiner’s Charlotte, NC studio in March 2016

While sitting and chatting, Torres-Weiner’s passion for social justice and making the invisibles visible, particularly children, is evident. Throughout our visit, her “artivism” and community engagement manifested itself through our conversation, and of course through the paintings that were displayed throughout the studio.

Many of Torres-Weiner’s pieces deal with the complexities of the United States immigration system as well as the injustices and dangers immigrants often face. Some of her work sheds subtle light on the plight of immigrants in the United States, but some of her pieces are far more overt. One piece in particular that is direct in its handling of the hazards of immigration and crossing the southern U.S. border is Madre Protectora.

 

Madre Protectora 


 This piece is a reimagining of the patroness of Mexico, the Virgin of Guadalupe. The standard representation of the Virgin of Guadalupe is of a young, brown-skinned woman, hands clasped in prayer and eyes cast downward. Typically she is shown standing atop a crescent moon held by a cherub and encircled by a golden mandala.Torres-Weiner’s version of the Virgin has morphed from a static, passive depiction of holy femininity into one of vigilant agency.

Madre Protectora by Rosalia Torres-Weiner. Collection of the Anacostia Community Museum, Smithsonian Institution

Madre Protectora by Rosalia Torres-Weiner. Collection of the Anacostia Community Museum, Smithsonian Institution

Instead of being clasped in prayer, her hands clutch a three-dimensional AK-47 constructed of wood, one finger on the trigger. A small, golden pocket watch dangles from her trigger finger, which in Torres-Weiner’s words, “indicates that over time, this situation will change”. Though her dark eyes are still averted from the viewer’s gaze, they are raised and alert, searching for any sign of danger.

The crescent moon and cherub are replaced by a blood red banner proclaiming her new moniker of “Madre Protectora”. Her golden mandala is supplanted by pink hibiscus flowers and stylized white dots, which according to the artist are, “one thousand points of loss. Each dot representing a life lost on the border.” The painting is recessed within a blood red wooden frame, with four lines of plastic barbed wire encasing the bottom of the piece, representative of the U.S.-Mexico border. Behind the wire are three red figures: the Virgin Mary, Jesus, and a pope.

I have always been obsessed with the devotion to, and various depictions of the Virgin Mary, particularly in Latin America and by Latino artists. The fact that a woman, (and oftentimes a non-white woman) was such a potent instrument of conversion during colonization, and can still command such power, zeal, and national pride is incredible to me. That being said, when we walked in to Torres-Weiner’s studio, I was immediately drawn to this armed Virgin. Madre Protectora follows a tradition of Mexican-American and Chican@ artists not only depicting the Virgin of Guadalupe, but of depicting her as one of active, maternal protection, central to the immigration experience.

Like many Catholic saints, the Virgin of Guadalupe is regularly prayed to for help and protection. Here, Torres-Weiner has imbued her with a hyper-vigilance that speaks to the extreme anxiety and desperation that often comes with the experience of crossing the border. Torres-Weiner is confronting the life-threatening circumstances that people often face when they come to the United States, whether it’s during the journey, or once they reach their destination.

The artist writes, “The Guadalupe, portrayed as a young millennial is armed with an AK-47 to show that faith can be as strong as the challenges that we face (deportations, narco-terrorism, economic disparity).”

 

Gateways opens to the public on December 5, 2016.  The exhibition explores the triumphs and struggles of Latino migrants and immigrants in four urban destinations: Washington, D.C., Baltimore, MD, Raleigh-Durham, NC and Charlotte, NC

Elena C. MunozElena 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 upcoming exhibition Gateways, which examines Latino im/migration in the D.C. Metro Area, Baltimore, the Raleigh-Durham region of North Carolina, and Charlotte, North Carolina.

Rosalia y Madre Protectora

Rosalia Torres-Weiner with Madre Protectora

Rosalia Torres-Weiner is a self-taught artist-activist who has lived and worked in Charlotte since 1992. Born in Mexico City, Mexico, she came to the United States in 1985. After working in the hospitality industry, she gradually turned to a career as an artist. She initially worked as a flight attendant; after painting murals in her children’s rooms, her neighbors commissioned her to paint murals in their homes. She launched her company Home Art Designs in 2001, painting murals in residential as well as commercial properties. In 2010, she pivoted and began to focus primarily on using her art as activism for the Latino community. She started the Papalote Project, (the Kite Project) using art as therapy for local children who were suffering from the loss of a parent due to deportation. She continues to produce socially conscious and community-engaging work from her studios in Charlotte, NC.

New acquisition! Rosalia Torres-Weiner part 1

Charlotte, North Carolina has been on our minds and in our hearts these past few days. In an act of community and resilience, it felt appropriate to celebrate both the city of Charlotte and Latino Heritage Month in the next few blog posts.

Thanks to the Latino Initiatives Pool, the Anacostia Community Museum was able to acquire new collections!   The Museum has acquired two pieces by Rosalia Torres-Weiner for the upcoming exhibition, Gateways, opening December 5, 2016.  Gateways explores the triumphs and struggles of Latino migrants and immigrants in four urban destinations: Washington, D.C., Baltimore, MD, Raleigh-Durham, NC and Charlotte, NC

It has been an honor and a pleasure to work with Rosalia. She is a talented Mexican born and raised, Charlotte-based artivist (artist+activst). Her energy, creativity, thoughtfulness, and commitment to social justice and community stories pervade all aspects of her life and work.  I am excited for visitors to get a small glimpse of this in Gateways.

I am the curator, but the other (invaluable!) member of the Gateways team is research/curatorial assistant Elena C. Muñoz. On our trip to Charlotte last week, Elena sat down and spoke with Rosalia about her art in general, and our recent acquisitions in particular. As an art historian, Elena has a deep knowledge of this work. Below, please find Elena’s post about the first piece we will show: Uprising Against ICE. 

 

Elena interviewing Rosalia for an Artist Speak out component of Gateways

Elena interviewing Rosalia for an Artist Speak out component of Gateways Photo: Ariana A. Curtis

 

Many of Torres-Weiner’s pieces deal with the complexities of the United States immigration system as well as the injustices and dangers immigrants often face. Her latest series of ten large format paintings that depict both the contributions and struggles of Latino immigrants in the United States.  This painting is a reimagining of one of Diego Rivera’s Mexican Revolution masterworks, The Uprising (1931).

The Uprising by Diego Rivera, 1931

The Uprising by Diego Rivera, 1931

Torres-Weiner’s paintings are typically bright, colorful pieces. This particular piece is painted in blues and grays, alluding to the ICE of the title. For this painting, the artist has abandoned her usual style and has instead mimicked both the style and composition of Mexican muralist Diego Rivera’s The Uprising.

 

Collection of the Anacostia Community Museum, Smithsonian Institution

Uprising Against ICE by Rosalia Torres-Weiner,  Collection of the Anacostia Community Museum, Smithsonian Institution

 Like Rivera’s painting, Torres-Weiner’s piece features a crowded and compressed picture plane, with a family unit battling an authority figure at the forefront. Torres-Weiner has replaced Rivera’s soldier with an Immigration and Customs Enforcement (ICE) agent in full SWAT gear, reaching with handcuffs towards a humbly dressed, unarmed immigrant family. Like Rivera’s female protagonist, Torres-Weiner has depicted a mother holding her swaddled child, arm outstretched to protect her family. Her husband protects their older daughter to the right of the canvas. The daughter, not present in the Rivera original, is yellow, the color of hope. The father creates a barrier between himself and the agent with a farming spade, reminding the viewer that immigrants perform much of the farm labor in the United States. To the left and behind the agent are more ICE agents and U.S. government officials in suits and ties. On the ground between the family and the primary agent is another figure and dollar bills, both trampled underfoot. Behind the immigrant family is a crowd of protesters, from which a “DREAM” sign can be seen, referring to the Development, Relief, and Education for Alien Minors (DREAM) Act that failed to pass. In the background is a U.S. flag, a bright contrast to the icy blues and grays of the rest of the work.

In the 1990s, North Carolina led the U.S. in Latino population growth. The southeast U.S. is one of the fastest growing regions in the country, in overall population and Latino population. In January of 2016, there were several ICE raids throughout the Southeast, resulting in the detention of 121 people, most of whom are women and children. The relationship between law enforcement and North Carolina’s Latino population is strained and fraught with anxiety, especially for undocumented families.

Uprising Against ICE gives voice to this anxiety while also subverting it. Torres-Weiner reimagines a family being held together through their own power and through the support of the masses that revolt behind them.

 

 

SHORT BIO of Elena C. Muñoz

Elena C. Munoz

Elena 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 upcoming exhibition Gateways, which examines Latino im/migration in the D.C. Metro Area, Baltimore, the Raleigh-Durham region of North Carolina, and Charlotte, North Carolina.

 

SHORT BIO of Rosalia Torres-Weiner

Rosalia Torres Weiner with Uprising against ICE

Rosalia Torres Weiner with Uprising against ICE

Rosalia Torres-Weiner is a self-taught artist-activist who has lived and worked in Charlotte since 1992. Born in Mexico City, Mexico, she came to the United States in 1985. After working in the hospitality industry, she gradually turned to a career as an artist. She initially worked as a flight attendant; after painting murals in her children’s rooms, her neighbors commissioned her to paint murals in their homes. She launched her company Home Art Designs in 2001, painting murals in residential as well as commercial properties. In 2010, she pivoted and began to focus primarily on using her art as activism for the Latino community. She started the Papalote Project, (the Kite Project) using art as therapy for local children who were suffering from the loss of a parent due to deportation. She continues to produce socially conscious and community-engaging work from her studios in Charlotte, NC.

Armstrong Manual Training School

On September 24, 1902 Booker T. Washington (1856-1915) delivered the keynote speech for the dedication ceremony of Armstrong Manual Training School.  The school was one of two high schools in the District of Columbia authorized by Congress for vocational education.  Armstrong school was built for African Americans and McKinley for white students.

The school was named for Samuel C. Armstrong (1839-1893), a white commander of an African American Civil War regiment and founder of Hampton Institute, now University. Designed by local architect Waddy B. Woody, the Renaissance Revival building provided carpentry, machine, foundry, and blacksmith workshops. In addition, courses in bookkeeping, domestic arts, chemistry, and physics were offered. The historic school has been described as, “an important institution and symbol for the African American community in Washington, D.C. . .”

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Armstrong Manual Training School Yearbook, 1902-1903. Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Thurlow E. Tibbs, Jr. Estate.

Much of the success for the school in the formative years is attributed to Dr. Wilson Bruce Evans, the founding principal and father of concert artist, Madame Lillian Evanti. In a 1904 article from the Colored American Magazine, Dr. Evans states, “although only two classes have been graduated, we find almost all of them employed in a variety of remunerative situations.”  He goes on to say, “. . . two are student assistants in the United States Department of Agriculture, four are teaching in the rural schools of Maryland. . .”

Armstrong graduates also gained local, national, and in some cases international acclaimed in their chosen field.  Duke Ellington, William “Billy” Eckstein, Lillian Evans Tibbs, John Malachi, and Jimmy Cobb are among a host of prominent alumni.

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Pages from Armstrong Manual Training School yearbook. Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Thurlow E. Tibbs, Jr. Estate.

In 1996 Armstrong was placed on the National Register of Historic Places, and now serves the local community as the Armstrong Adult Education Center. However, you can help us make a fragile Armstrong Manual Training School yearbook from 1902-1903 in our collection more accessible and searchable by transcribing it at the Smithsonian Transcription Center!

In the Spirit of Community: Georgette Seabrooke Powell

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Georgette Seabrooke Powell conducting a painting workshop at the Anacostia Community Museum, Smithsonian Institution, 1983. Photo by Chris Capilongo.

In May 1995, Art Changes Things: The art and activism of Georgette Seabrooke Powell closed at the Anacostia Community Museum. The retrospective exhibit curated by Michelle Black Smith celebrated Powell’s artwork and her commit to community. The show featured ten selected artworks, family photographs, and awards documenting her long career as an artist and activist.

Born in Charleston, South Carolina, Georgette Seabrooke Powell (1916-2011) moved with her family to New York at a young age. She graduated from The Cooper Union Art School and became involved with the Harlem Arts Workshop. In 1936, Powell became a master artist for the Works Progress Administration Program’s (WPA’s) Federal Art Project. She created a mural at Harlem Hospital and at Queens General Hospital. She later studied at Fordham University, Turtle Bay Music School, and Howard University. Georgette moved to Washington, D.C., in 1959 becoming a lifelong artist and educator, organizing art workshops and giving back to community by founding Operation Heritage Art Center, renamed Tomorrow’s World Art Center, a non-profit organization for education and the arts.

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Georgette Seabrooke Powell conducting a painting workshop at the Anacostia Community Museum, Smithsonian Institution, 1983. Photo by Chris Capilongo.

A recipient of numerous art and service awards, Georgette Seabrooke Powell traced “many of her life’s most important moments to community.” For Powell, community was “a flexible and encompassing term that defines relationships with family, friends, fellow artist, neighbors . . .” In the spirit of community, she organized various exhibitions, demonstrations, and workshops for the Anacostia Community Museum and served as president of the District of Columbia Art Association (DCAA) in 1989. Researchers can learn more about Georgette Seabrooke Powell by consulting the National Visionary Leadership Project.

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Georgette Seabrooke Powell conducting a painting workshop at the Anacostia Community Museum, Smithsonian Institution, 1983. Photo by Chris Capilongo.

This post originally published on the Smithsonian Collections Blog in 2012.

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