July 4th 2017

Today seems a good date to start a new document, a new journal. A date that is supposed to be patriotic. In which we might feel the weight of our national experiment, now verging towards national calamity. In which we try to keep our chins up and our hearts strong. In which we feel the sickness churning in our stomach as our malevolent buffoon-in-chief insults twists lies trammels all the values we hold dear. As he creates suffering for the vulnerable. As he loosens restrictions on pollution. As he pulls out of the Paris Climate accords. The list is long and growing. Hold back the tears and bring out the magic markers. Make our signs. Make our phone calls. Steel our wills.

A second visit to the Kerry James Marshall show at MOCA, the last weekend before it closes, is a stirring reminder of what an artist can do to deepen our understanding of our country’s tortured race history and as well, its resilience. He does so by including those who have been excluded from the shared narrative, by painting them back into the national story,putting them center-stage into the American storybook, into small towns, into the backyard barbeques in Culver City,CA in the 50’s of my childhood, barbecues in parks to which no African-Americans were invited. To the neat streets-on-a-grid post-war stucco one-story houses in the city where I grew up– where African-American families were not allowed to buy a home, not allowed to live. It was called a covenant. it was silent. And for what was absent– I then had no questions.

The galleries at MOCA are more crowded than I’ve ever seen them. Everyone in this diverse crowd is absorbed in these astonishing paintings. I watch a man pushing his diminutive fine-boned grey-haired mother’s wheelchair through the exhibit. They pause in front of each painting to examine it closely. He is tall; so he kneels down beside her in the chair, pointing out the images– the yellow birds, the couple in the grass. The two of them enter the painting, smiling, occasionally frowning. Taking it in. As does the little girl whose sequined shirt glitters in gold synchrony with the drapes of rope—– a sinister signifier– on a painting of the blue sea. The angel in them middle of the living room adjusts a vase of flowers, bends before a wall-banner of mourning—JFK, RFK, MLK, reminds of the Watts living room of David Ornette Cherry’s aunt Barbara, Ulysses Cherry– who wanted his grandchildren to see all of Los Angeles, to see the Los Angeles beyond Watts. Who’d pile them into the station wagon on Sundays to drive west from Watts to the west, through Culver City, through Beverly Hills. But, David told me, “We always had to be back before sundown.” And why was that? I asked in all innocent ignorance. Because Culver City was a Sundown town, he said. And what, I asked in all innocent ignorance, was a sundown town? A town where African-Americans were not wanted. A town where you’d best leave before sundown. This the unofficial policy until the 1960’s in the town where I grew up. I didn’t know. I am ashamed I didn’t know. Until now.

6 Responses to “July 4th 2017”

  1. Lawrence Steinman Says:

    Well written
    Thanks

  2. Charlotte Says:

    Wonderful observations of this big time important show; so many Angelenos came to see it, but you came also to see them. Always look forward to reading your posts, esp here, tying it back to your hometown of Culver City.

  3. So beautifully said in this time of turmoil. I’m reminded of a quote by Toni Morrison. ” The function of freedom is to free someone else.” That is the country is wish to revive.

  4. dorit cypis Says:

    Thank you Louise. So important that we each reveal our white not knowing. It’s the empathy needed for us to get closeer to folks we have in ignorance not really understood, not really. Kerry James Marshall has been painting these truths for many decades. Finally we are in a time where many are openly listening, looking, feeling and re-membering. This is the time, under the nose of our emperor without clothes.

  5. Bette Levy Says:

    Excellent!

  6. Cheryl Holtzman Says:

    Thank y Louise for making this point and saying these words – I am with you

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