NY Museum Will Move Teddy Roosevelt Statue Viewed As Overtly Racist

“The world does not need statues, relics of another age, that reflect neither the values of the person they intend to honor nor the values of equality and justice,” said Theodore Roosevelt IV, a great-grandson of the 26th president, said in a statement approving the removal.Credit...Caitlin Ochs for The New York Times

The bronze statue of America’s 26th president, Teddy Roosevelt, will be moved.from the entrance to the American Museum of History in New York, where it has resided since 1940. I’ve passed it many times on my way into the museum and never seriously considered how it impacted people of color — especially those of African lineage — and Native Americans.

Looking at it now, I understand completely why the statue had come to symbolize a painful legacy of colonial expansion and racial discrimination.

“Over the last few weeks, our museum community has been profoundly moved by the ever-widening movement for racial justice that has emerged after the killing of George Floyd,” the museum’s president, Ellen V. Futter, said in an interview with the New York Times. “We have watched as the attention of the world and the country has increasingly turned to statues as powerful and hurtful symbols of systemic racism.”

Futter made it clear that the museum’s decision is based on the “hierarchical composition” of the statue and not Roosevelt the man, who is revered as “a pioneering conservationist.” I will add that Roosevelt being clothed and the other two men more naked sends its own message beyond physical scale.

A Roosevelt family member released a statement approving the removal.

“The world does not need statues, relics of another age, that reflect neither the values of the person they intend to honor nor the values of equality and justice,” said Theodore Roosevelt IV, age 77, a great-grandson of the 26th president and a museum trustee. “The composition of the Equestrian Statue does not reflect Theodore Roosevelt’s legacy. It is time to move the statue and move forward.”

In a compensatory gesture, the museum is naming its Hall of Biodiversity for Roosevelt “in recognition of his conservation legacy,” Futter said.

Not all critics agree with the argument that President Theodore Roosevelt didn’t embrace racial hierarchy.

[They] “have pointed to President Roosevelt’s opinions about racial hierarchy, his support of eugenics theories and his pivotal role in the Spanish-American War. Some see Roosevelt as an imperialist who led fighting in the Caribbean that ultimately resulted in American expansion into colonies there and in the Pacific including Puerto Rico, Hawaii, Guam, Cuba and the Philippines.

A nationalist, Roosevelt, in his later years became overtly racist, historians say, endorsing sterilization of the poor and the intellectually disabled.”

Trump Rally in Tulsa, A Day After Juneteenth, Awakens Memories of 1921 Racist Massacre

Trump Rally in Tulsa, A Day After Juneteenth, Awakens Memories of 1921 Racist Massacre

For only the second time in a century, the world’s attention is focused on Tulsa, Okla. You would be forgiven for thinking Tulsa is a sleepy town “where the wind comes sweepin’ down the plain,” in the words of the musical Oklahoma!.

But Tulsa was the site of one of the worst episodes of racial violence in American history, and a long, arduous process of reconciliation over the Tulsa Race Massacre of 1921 was jarred by President Donald Trump’s decision to hold his first campaign rally there since the COVID-19 pandemic began.

The city is on edge. Emotions are raw. There’s anxiety about a spike in coronavirus cases, but lurking even deeper in the collective psyche is a fear that history could repeat itself. Tens of thousands of Trump supporters will gather close to a neighbourhood still reckoning with a white invasion that claimed hundreds of Black lives.

A Trump rally near a site of a race massacre during a global pandemic already sounded like a recipe for a dangerous social experiment. But then there was the matter of timing. The rally was to be held on Juneteenth (June 19), a holiday commemorating the day slaves in the western portion of the Confederacy finally gained their freedom.

Normally, Juneteenth in Tulsa is one big party, the rare event that brings white and Black Oklahomans together. But fears about spreading COVID-19 led organizers to cancel the event. Then came the protests over the murder of George Floyd. During those demonstrations in Tulsa, a truck ran through a blockade of traffic, causing one demonstrator to fall from a bridge. He is paralyzed from the waist down.

Property Heirs Argue Confederate Statue Rights in New VA Court Move

Top photo: A 2010 picture of the statue of Nathan Bedford Forrest, which was removed from Health Sciences Park (formerly Nathan Bedford Forrest Park) in downtown Memphis last December. (Wikimedia). Bottom photo: BY CURRIER & IVES (NOT SIGNED) - THIS IMAGE IS AVAILABLE FROM THE UNITED STATES LIBRARY OF CONGRESS'S PRINTS AND PHOTOGRAPHS. VIA WIKI COMMONS

Dead Men's Property Heirs Argue Confederate Statue Rights in New VA Court Move

By Allison Anna Tait, Professor of Law, University of Richmond. First published on The Conversation

The latest chapter in the United States’ ongoing debate about Confederate monuments involves some unexpected opinions: those of long-dead land donors.

Responding to sustained, nationwide protests over police brutality, Virginia Gov. Ralph Northam on June 4 vowed to dismantle a prominent statue of the Virginia-born Confederate General Robert E. Lee in Richmond, the state capital.

That plan was put on pause just four days later when a state judge issued an injunction based on the petition of a man whose ancestor, Otway Allen, gave Virginia the land the the sculpture sits on.

In his petition to the court, William C. Gregory claimed that removal of the statue would violate the conditions of his great-grandfather’s 1890 land deed, which says Virginia “will hold said Statue and pedestal and Circle of ground perpetually sacred to the Monumental purpose … and that she will faithfully guard it and affectionately protect it.”

On June 19, a judge will decide whether to let the 10-day injunction expire, enabling Richmond to dismantle its Lee monument, or to obey the donor’s wishes – at least temporarily.

Richmond isn’t the only Virginia city where a centuries-old land deed is a legal hurdle in removing Confederate monuments many see as a symbol of white supremacy. Nearby Charlottesville has faced similar questions about the intentions of the philanthropist who donated its controversial Robert E. Lee statue.

Anne Trips Over Coddington's Mammy Jars As Joan Smalls Confronts Fashion Industry Racism

Joan Smalls Confronts Fashion Industry Racism, As Anne Trips Into Grace's Mammy Jars

The first black person I ever saw in life was a real black woman Aunt Jemima. I remember her serving little appetizer-size pancakes in a grocery store in a tiny Minnesota town when I was growing up. I thought she was magnificent — independent and on the road, creating her own life, traveling to new places, center stage in the grocery store lighting up the place like Christmas in July.

If only I could be like her when I grew up. To me, she was a movie star — a beautiful, talented movie star — and I loved her skin, her smile and — most of all — her self-confidence.

For the Love of Mammy

For reasons I’ve never fully understood, I was committed to civil rights at a very young age — and not because we discussed the issue at the family dinner table. Only when I became a teenager and watched the agonizing brutality of civil rights protests on TV, did I understand that perhaps Aunt Jemima’s life wasn’t so totally wonderful after all.

I was shocked to discover this weekend that former Creative Director of American Vogue Grace Coddington proudly displayed her collection of mammy jars in a French lifestyle magazine last year. Frankly, I was totally disgusted with a woman I’ve admired greatly in fashion world.

You’re reading the words of someone who became so agitated at a dinner party in Connecticut 25 years ago, that I feigned a migraine just so I could excuse myself from the other guests and lie down.

Not wanting to embarrass my investment banker partner, I needed to exit stage right from the despicable dinner table conversations about people of color. He knew, of course, what was going on, and when he came to check on me in the guest room, I suggested to him that I would just return to Manhattan alone on the train and he could come Sunday morning. To his credit, he told our hosts and other guests that I had a terrible history of migraines (not true) and he wanted to take me back to New York.

After reading Anna Wintour’s apology regarding racism at Condé Nast (see article), I find it impossible to believe that none of Grace Coddington’s fashion friends suggested to her that her black mammys should be retired for good.

Grace Coddington’s home spread coincided with the infamous Prada Soho store key chain incident and accusations of blackface against Gucci.

The History of Aunt Jemima

Sarah Doneghy shares the facts of Aunt Jemima’s birth as a cultural icon in her 2018 Black Excellence essay: It Was Never About the Pancakes.

Aunt Jemima was first introduced as a minstrel show character. The characters in these shows were white people in blackface, portraying black people as “dimwitted, lazy, easily frightened, chronically idle, superstitious, happy-go-lucky buffoons,” writes Doneghy.

Her roots came from an old Billy Kersands song “Old Aunt Jemima”, a story sung by slave hands.

The lyrics tell of the promise to be set free yet remaining a slave forever. “My old missus promise me  . . .When she died she-d set me free . . . She lived so long her head got bald . . . She swore she would not die at all . . .” were some of the lyrics.

Many argue that the stage vision of Mammy — the one on Grace Coddington’s jars and pancake mix boxes — never really existed. “The Mammy pictured female household slaves as: fat, middle-aged, dark-skinned, undesirable . . . happy to serve whites, always smiling . . . The ugly truth is that they were: thin . . . young . . . light-skinned, a daughter of rape; desirable to white men and therefore raped, utterly powerless, extremely unhappy . . .” writes Doneghy.

Time To Retire the Mammy Jars, Grace. Perhaps a Public Smashing?

If true, this is one more reason for Grace Coddington to ditch her mammy jars, as they are very dark skinned and deliberately designed to appear unattractive to white men — and, therefore, not a threat to white women. That’s a whole lotta baggage around one set of jars, Grace Coddington.

Now that Vogue Global Artistic Director, Global Content Advisor and Editor-in-Chief of American Vogue Anna Wintour is determined to root out racism at Condé Nast, those jars could be the first post in a new monthly Vogue feature.

Consider a confessional column “How I Confronted My Own Quiet Racism”, with current and former Condé Nast execs leading by example. It could be on Instagram — asking other owners of racist memorabilia to share pictures of them taking out the trash. It might be a bit embarrassing, but think of all the street cred Vogue could build. Beyoncé could write a song. Vogue could be honored at the next Global Citizen festival. This could be big . . . very big.”

Condé Nast could launch this campaign the day after voters send Donald Trump packing in November. America is turning a new page and Grace’s mammy jars are step one. We work our way to the Biden Inauguration, one gesture each day. I love it!! ~ Anne

How DC Mayor Bowser Used Graffiti to Protect Public Space

How DC Mayor Bowser Used Graffiti to Protect Public Space

When President Donald Trump sent heavily armed federal law enforcement officers and unidentified officers in riot gear into Washington, D.C. during the height of protests recently, Mayor Muriel E. Bowser responded by painting “BLACK LIVES MATTER” directly on the street leading to the White House.

While many spoke of it as a daring political act, for artists like me, it was also an act of urban intervention, an artistic act intended to transform an existing structure or institution, that reclaimed public space back for the public. And she accomplished this with little physical matter at all.

Her action – expressing dissent by marking an oppressive environment – references graffiti, which has been called the “language of the ignored.”

Art scholars note that most types of graffiti are meant to claim or reclaim territory by those who are systematically excluded. “Writers” often work quickly and at night, when they are less likely to be seen and arrested for painting on others’ property without consent.

Bowser’s action would likely be considered vandalism if not for the fact that it was carried out by the city’s Department of Public Works, using city funds. She wielded municipal services as artistic tools to condemn another state-sanctioned action, the violence perpetrated against Black people.