Thursday, September 30, 2021

A White Person In Solidarity -June 21, 2020

*Note: This was originally published in June 2020. 
I just listened to this morning's Up First bonus podcast, "Why Now, White People?"

I missed Gene Demby's call for answers to this question, but found the responses very compelling. They ranged to include a mass reaction to Trump's racist rhetoric, prevalence of footage of the murders of African American people, stay-at-home orders affording people more time to pay attention and protest, peer pressure and permission, and rising tensions caused by the pandemic that generally results in acting-out behavior. Apparently, quarantines often coincide with riots.

My own experience has some additional factors, and I don't know how common it is. For background, I am of Scandinavian and Baltic descent with other white European ancestry mixed in. I came out pale, blonde, blue-eyed and predominately heterosexual. I grew up in a very white, rural area of Michigan, but frequently visited my grandparents in Saginaw, which was much more diverse. I preferred the diversity. From an early age, I felt drawn to people from different ethnic backgrounds, and I disliked the small-minded community where I went to school up north. As soon as I graduated high school, I moved to Washington State. Yes, the Pacific NW is far less diverse than many other areas of the U.S. but the liberal attitudes appealed to me, and most of all, I gravitated to the mountains, ocean and mild weather.

The Evergreen State College, my alma mater in Olympia, is an unconventional liberal arts school where, in 1989, I enrolled and was intensely challenged to examine my personal biases and to question everything I had ever learned. Coming from a small-town education where my high school history teacher showed us Westerns and took us to a civil war reenactment to teach us history, I scrambled to catch up with my fellow students. I learned that there were entire bodies of creative work by non-white people that I had not been introduced to. I took classes in cultural anthropology, feminist film theory, and political science. I read the Quran, Mahabharata, and spent a year on Native American studies. I went through a lot of difficult self-examination and absorbed feedback from fellow students who said I was too interested in other cultures, and should focus on my own culture, which is something I continue to explore.

For 20 years, I have been a working artist, often facilitating public art projects that engage disenfranchised communities. While feedback from participants is always extremely positive, I've received comments suggesting that it is not my place; that I might be acting out of self-interest, exploiting underprivileged people to feel good about myself. Many of my artworks are of people. I have gotten some critical feedback for representing people with non-white features, implying that, again, it is a kind of exploitation. If I make work that celebrates people of color, some see it as appropriation. I am not interested in making all of my work about white women. That story has been told. I am very interested in telling untold stories, as with a mosaic I made of Edmonia Lewis.

As years passed, I continued to read books by non-white authors, follow non-white artists, watch t.v. and movies by and about people of color, to listen to non-white podcasters, and generally to keep trying to be aware. But, I still live in Washington, in a very rural area. I have Mexican friends and Native friends. A very large portion of my friends are LGBTQIA. I have six white friends with black children, but only a few, far-flung African American acquaintances. It is impossible for me to have meaningful conversations about race with people of color without accosting someone I don't know in an entirely inappropriate manner. I do have great conversations with other friends who are also working on these things, but it's a limited perspective.

In the past, I've occasionally posted resources, sticking to: "I listened to this Code Switch episode and it was really good. Follow the link." Or, "Have any of you been watching 'Dear White People'? I recommend it!" Speaking up about race in social media feels very tricky as a white person. I feel like I'm saying, "Look at me! I'm so woke!" It feels self-congratulatory. It has always been hard for me to figure out how to have these conversations.

In mid-May, I listened to the audio book by Ijeoma Oluo, "So You Want to Talk about Race." I humbly posted a recommendation on my facebook page, as usual. In fact, Ijeoma gave me a lot to think about. The most important lesson for me was that conversations about race can be awkward, we will make mistakes, sometimes it will go very badly - but we have to keep trying. White people have to be willing to take negative feedback, listen, reflect, then do it again. Too many of us retreat in shame or defensiveness. Her words were fresh in my mind at the end of May.

And then Ahmaud Arbery was brutally killed by white vigilantes, then the news of Breonna Taylor's murder was released, and then George Floyd's killing took place, all within a short time. And everyone with a conscience was shaken by it. People were talking about it and posting about it online. Knowing I had black friends, however distant, and friends with black children, I had to post something. I needed them to know I was enraged and grief stricken and that there are white people who are on their side. I saw videos of white women doing and saying such embarrassingly racist things, I felt the need to disassociate myself with that kind of person. I spoke out more. As more and more people I know have been taking a stand, I feel less like one white person trying to prove how enlightened she is, and more like part of a collective voice saying "We stand with Black Lives Matter." Before, speaking up as a white person felt like I was making it about me. Now it feels like it's about Us, and it's a big Us, and it's a relief to know how many (nearly all) of my friends support this movement.

The hosts of the show sound, understandably, skeptical. Suddenly, all these white people are speaking out who were not before. And it's true; I have friends who argued with me on the topic less than a year ago who are fully engaged now. But I do think it's genuine. I think we are going to keep making mistakes and getting it wrong and, collectively, white people still have a long way to go, but there is a sea change taking place. Many who felt shy about speaking up before are emboldened. We are listening and working hard to learn.

The devastating aspect of all of this is the increase in violence against people of color right now. I feel certain that the entitled white people who are committed to racism and terrified of change are in the minority, but they are freaked out and filled with hate-fueled anger. And they have guns. But they are a dwindling sector of society and I truly hope they will soon be shamed into hiding and that future generations will be free from that kind of prejudice. I have to believe this.




Black Lives Matter Exhibition

 This week, I attended the opening reception and other events for an exhibition at the Jordan Schnitzer Museum of Art in Pullman, WA in the theme of Black Lives Matter. The main exhibition is a body of work by Alison Saar that speaks to her experience as a biracial woman in the U.S. The rest of the museum is filled with work by 20 artists who were selected to receive a grant to create new art for this show. 

I am one of those 20 artists. When I saw the RFQ last year, I decided to apply because I have been wanting to create public art for Thurston County (WA State) that honors and celebrates non-white community members, and I had an idea to use this grant to support that work. 

Let me jump back to the motivation, because I have not made art about social justice issues, for the most part. The themes in my work have focused more on women, mythology and religion, and a reciprocal relationship with Nature. However, with the racially-motivated violence that has punctuated the past several years (which is simply more visible due to phone and body cameras), I found myself wondering what I could do to support the Black Lives Matter movement? 

Back in 2017, I made a mosaic portrait of Edmonia Lewis, a mixed race (Haitian/Native American) sculptor who was prominent in the 1800s. Included in the background, under glass, are bits of her story and work. My goal was to provoke further research, and for the viewer to ask themselves why she is largely unknown? This piece was purchased by the City of Seattle for permanent collection in the Office of Art and Culture.


When I learned of Breonna Taylor's story, one thing that struck me was that she seemed to be underrepresented in the media. As memes began to be shared along with the "Say Her Name" directive, I felt compelled to create a small mosaic portrait of her. I saw too many white people using her name and image to get "likes" and hits, and my hope was to find a way to help raise awareness and possibly to sell or auction the mosaic to donate to an appropriate charity. The portrait was included in a couple of exhibits, and eventually I managed to connect with Tamika Palmer, Breonna's mom, and the portrait now belongs to her. In the end, that felt like the right outcome. 


And that's all I had to demonstrate my interest in making art in the BLM theme, plus many examples of mosaic portraiture I've done as portable and permanent public art. But I also had an idea inspired by the dearth of public art in my area that in any way celebrates the Black community. There is one mural in downtown Olympia in honor of Rebecca Howard. 


My idea, and the proposal I pitched for the grant opportunity, was to create a mosaic portrait of Nat and Thelma Jackson, a powerhouse couple who have spent their lives working for racial equity and much more. (Read more here: https://www.sos.wa.gov/legacy/sixty-eight/nat-and-thelma-jackson/) The portrait would be made on tile board using techniques to make it weatherproof, so that I could find a way to have it installed as public art, and it would be safe to put it outside. 

I really thought it was a long shot, so I was shocked to learn that I was one of the artists selected! There are so many talented artists of color, I really doubted I would be considered. My submission was very clear that I am white, and mentioned that the movement needs those of us in privilege to step up and stand with our Black community, or nothing will change. When I look back at photos and film of events like the march in Selma or the Lunch Counter Sit-Ins or the Freedom Riders, I see the white protesters who joined in the fight, and I want to be that kind of person. I want to be on the right side of history, and I want to fight for a better world. 

Over the past year, I've talked with Nat and Thelma to explain what I wanted to do, get their permission, and make sure I was representing them in a way that felt empowering for them. We also discussed at length how to site the mosaic, and Nat guided me toward working with the City of Lacey, WA. Their roots go deep in Lacey. As it turns out, Goose Pond was once the Jackson's property, and the Lacey Community Center is located next to it. The Jacksons live nearby, so at this time, the most likely location for the portrait is there, inside of the community center in a prominent spot. 


*Note: The background was chosen partly because Nat loves to garden and Thelma loves flowers. I chose the soft, sweeping colors and shapes to contrast with the smaller, tight spacing in the figures, so they would come forward. The foliage also represents the seeds planted by Nat and Thelma in Washington State and Thurston County, and how they have cultivated positive change that will continue to grow and flourish for future generations.

When the exhibition opened and it was time to drive 6 hours to the other side of the state, I did have some trepidation. I didn't know what to expect. The opening fell during possibly the busiest time frame of my career, when I was scheduled back to back for multiple events and an installation, so I barely had time to be nervous. No one was flexible enough to accompany me for three days midweek, so I knew I would be arriving alone, not knowing anyone. And I was pretty sure, as a PLC (Person Lacking Color) I would be in the minority among the artists. While driving, I thought through how to answer any questions that might come up so that I would be less likely to misspeak or freeze. I knew I wanted to focus on talking about the Jacksons and not myself. 

I did not expect to be the only white artist included in the show. 

Had I known, would I have politely declined to attend? No. Was it uncomfortable? Yes.

I kept Ijeoma Oluo's advice in mind throughout the event. It's hard, and you might get it wrong, but don't put your tail between your legs and give up. Keep trying. I felt it was important to be there, but also to be quiet. I decided immediately that I wouldn't speak up unless asked. I listened and my fellow artists spoke and it was intense. I felt like an outsider and I wondered if I belonged there. My mosaic was featured prominently. It sparkles. But it was not made out of lived experience with racism. The other artists presented work that is their insides on full view. It is angst and pain and fear and hope all fashioned out of paint and torn paper and fabric and metal. It is generations of violence, objectification and nightmares laid out bare for the public to witness. I felt keenly aware of how my work is different from theirs. Still, I believe down to my bones that we need to stand together, and that change only happens if those of us with power stand alongside those without. 

Here is a link to an article about the show: https://dnews.com/local/social-justice-artistic-impact/article_cae87b45-1bc8-5d33-90dc-91306417942f.html?fbclid=IwAR1QxNWvKbZstnTTkW8awVqpszggtwYWNUPwPexBekkoNwykHnG-ozpsNqI