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In Wisconsin’s Capital City, Police Protests Stay Peaceful

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Supporters participate in a during a demonstration for Tony Robinson along Williamson Street in Madison, Wis., Wednesday, May 13, 2015. Dane County District Attorney Ismael Ozanne said Tuesday, May 12, that he wouldn't file charges against Madison Officer Matt Kenny in the March 6 death of Robinson, saying the officer used lawful deadly force after he was staggered by a punch to the head and feared for his life. (John Hart/Wisconsin State Journal via AP)

Supporters participate in a during a demonstration for Tony Robinson along Williamson Street in Madison, Wis., Wednesday, May 13, 2015. (John Hart/Wisconsin State Journal via AP)

Todd Richmond, ASSOCIATED PRESS

 
MADISON, Wis. (AP) — When a white police officer killed an unarmed biracial teen in Wisconsin’s capital city, the shooting quickly heightened tensions and stirred up protests.

But no one has hurled so much as a pebble, broken anything or thrown any punches in protests since Officer Matt Kenney shot 19-year-old Tony Robinson in March in a home near the Capitol building. The approximately two dozen arrests so far have involved protesters blocking traffic.

Instead, police-community relationships, demographics, traditions and cooler heads helped keep Madison’s streets peaceful — at least so far.

“I think the people in this city are … pretty good about voicing their emotions without running around and tearing things up,” said Andrea Irwin, Robinson’s mother. “I don’t think that’s ever happened in Madison.”

Dane County District Attorney Ismael Ozanne raised the ante Tuesday when he announced he would not charge Kenny in Robinson’s death, saying the officer’s actions were justified because Robinson, who was high on hallucinogenic mushrooms, punched Kenny in the head.

The Young, Gifted and Black Coalition, an activist group that has been organizing the protests, led about 200 people on a march through the city’s downtown Wednesday. During a mock trial on the Dane County Courthouse steps, they found Kenny guilty of homicide and then sat in the street before finally dispersing. About two dozen people were taken away in handcuffs after they refused to clear the road, and almost all were released with a $124 misdemeanor fine.

Madison is unlikely to explode like Ferguson, Missouri, or Baltimore, which saw riots break out over police-related killings, said Carl Taylor, a Michigan State University sociology professor who has researched youth culture and violence. Madison doesn’t suffer from high unemployment and other large-scale social problems that can exacerbate civil unrest, Taylor said.

African-Americans make up only about 7 percent of the population in Madison, compared with more than 60 percent in both Ferguson and Baltimore. Police here say they have tried to build trust in the community, meeting with minority leaders and putting officers through diversity training.

Protests have become a regular part of Madison life, too. The city, known as one of the nation’s most liberal, saw tens of thousands of people converge on the state Capitol for three straight weeks in 2011 to rally against Republican Gov. Scott Walker’s plan to strip public workers of their union rights. Passions rode much higher over that issue than in Robinson’s death, and everyone stayed peaceful.

Still, Police Chief Mike Koval began working to avoid what he called Ferguson’s “missteps” in the first hours following the shooting.

Ferguson police initially gave little information about the death of Michael Brown and took a week to identify the officer who shot him. They released video the same day showing what they said was Brown robbing a store.

Koval, in contrast, rushed to Robinson’s mother’s home to offer his condolences hours after the shooting and prayed with his grandmother. He identified Kenny the day after Robinson’s death.

He also volunteered that Kenny had killed a man in the line of duty in 2007 and had been cleared of any wrongdoing. He declined to discuss Robinson’s armed robbery conviction last year, saying commenting on his past would be inappropriate.

Ozanne prefaced his announcement Tuesday with condolences to Robinson’s family. He pointed out that he himself is biracial and is Wisconsin’s first district attorney of color. He also mentioned his mother, who participated in Freedom Summer, the famous 1964 effort to register black voters in Mississippi, and how she still fears for his safety because of his color.

But, he said, he had to base his decision on the facts.

“My decision is not based on emotion,” he said. “This decision is guided by the rule of law.”

A number of community groups mobilized volunteers to monitor Wednesday’s protests and to caution demonstrators against committing any crimes.

“This is the type of partnerships we think we need,” Madison police spokesman Joel DeSpain said. “We all need to work together to show people a better path.”

The protesters are still seething, though. Alix Shabazz, a Young Gifted and Black leader, told demonstrators on Wednesday not to talk to any officers.

“They are not your friend,” she told the crowd. “There is nothing positive that is going to come from that” interaction, she said.

Reaction to a recent shooting in Detroit has played out much the same way. Demonstrators held protests and marches over the death of 20-year-old Terrance Kellom, a black man shot by a federal agent during a fugitive sweep last month. But the demonstrations have been peaceful so far. Detroit’s black police chief met with Kellom’s family the day of the shooting.

Protest leaders say the peace has nothing to do with police and everything to do with the community members who want to make changes through the political process rather than violence.

“We feel we can use the leverage of political power to make people act, prosecutors and police,” said Ron Scott of the Detroit Coalition Against Police Brutality.

___

Associated Press writers Dana Ferguson and Kia Farhang in Madison and Corey Williams in Detroit contributed to this report.
Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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