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Inside the BMA’s Galleries and Exhibitions: Africa to the Americas

BIRMINGHAM TIMES — The Birmingham Museum of Art (BMA)—located at 2000 Rev. Abraham Woods Jr. Blvd., Birmingham, AL 35203—has more than 27,000 paintings, sculptures, prints, drawings, and decorative pieces representing diverse cultures: Asian, European, African, American, Pre-Columbian, Native American, and others.

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4 years ago

September 6, 2019

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A portion of the piece, "Love is Blind" by artist Paul Cordes Wilm is shown at the Birmingham Museum of Art. (Photo by: Mark Almond)

By Erica Wright

The Birmingham Museum of Art (BMA)—located at 2000 Rev. Abraham Woods Jr. Blvd., Birmingham, AL 35203—has more than 27,000 paintings, sculptures, prints, drawings, and decorative pieces representing diverse cultures: Asian, European, African, American, Pre-Columbian, Native American, and others.

It also houses an extensive Contemporary Art Gallery and features a broad range of special exhibitions, including the currently running “Barbie: Dreaming of a Female Future” (Aug. 10, 2019 through Jan. 26, 2020, in the Arrington Gallery) and the soon to come “Ways of Seeing: Portrait” (Aug. 31, 2019, through March 8, 2020, in the Bohorfoush Gallery).

Here’s a closer look at some of the BMA’s galleries.

Contemporary Art

Contemporary art is defined as the art of today, produced by artists who are living in the 21st century. At the BMA, the contemporary art collections consist of artworks created after the 1970s up to today.

In the contemporary gallery, located on the first floor of the museum, hangs a large portrait of Birmingham-born artist Kerry James Marshall’s “School of Beauty, School of Culture.” The piece depicts a scene of black males and females in a beauty school, but its meaning is far more complex. It is a setting, familiar to most African Americans, that not only teaches a trade but also educates its clientele about African American culture through fellowship.

“When I was going through the permanent collection, I was very much thinking about the artists I know, love, and am familiar with, and then the different themes I’ve observed having been here in Birmingham,” said Hallie Ringle, the BMA’s Hugh Paul Curator of Contemporary Art, who has been in the Magic City since October 2018.

The work of prominent African American artists, many of whom hail from Birmingham and across the state of Alabama, are important in the gallery, said Ringle, who is responsible for planning exhibitions and caring for the permanent art collections.

“There are so many artists from Birmingham that I think are incredibly significant, like Joe Minter. We have his ‘Reparations Now’ piece; it’s a new acquisition,” she said. “I want to think about what labor meant. What does it mean to spend your whole life working for something, especially when that labor isn’t always visible or isn’t always credited? … I kept thinking about those things in terms of Birmingham. We see all these things happening around us, but who actually does [the work] and what does this mean in terms of a larger society?”

Aside from the “School of Beauty, School of Culture” and “Reparations Now” pieces, the Contemporary Art gallery features many other notable pieces, including a portrait of activist and Birmingham native Angela Davis titled “Revolutionary” by Wadsworth A. Jarrell. Words from her speeches—struggle, resist, black, beautiful, revolution—swirl around her and emanate from her hair.

In selecting works that will be displayed in the gallery, Ringle’s goal is to bring people closer to the artists.

“I want to recognize how they experience art wherever they are,” she said. “Birmingham is a very creative city. … Maybe it’s in a sign that you’ve seen or a mural that you painted or whatever you do in your life that’s creative and artistic.”

In addition to considering how she can connect viewers to the piece or the audience, Ringle does extensive research when selecting works for the gallery.

“My process is a little different from that of my colleagues because the artists are living for the most part. One of my favorite things to do is work with living artists and make sure their dreams are executed in our galleries,” she said. “Sometimes I pick art that’s on the walls. Sometimes I might commission an artist to make something. Sometimes it’ll be a work in our collection that already exists. For the pieces that are currently in the gallery, I picked some pieces that already existed in our collection and built a show around them.

“[For instance], I started with ‘Reparations Now’ … [and] ‘School of Beauty, School of Culture.’ Then I included [pieces from] Amy Sherald, [who was commissioned to paint the official portrait of former First Lady Michelle Obama for the Smithsonian Institution’s National Portrait Gallery]. [Then I added the] Angela Davis [piece], and I was like, ‘Oh, my God, these don’t make any sense together.’ Then I thought, ‘What are these really about?’ Even though it’s not always apparent, Amy Sherald’s [‘All Things Bright and Beautiful’] looks like a portrait and is a portrait, but it’s also about childhood, who we see as children, and, as a society, what we are protecting these children from—that is labor, often invisible labor.”

Click to view slideshow.

African, Native-American and Pre-Columbian

The BMA’s African, Native American, and Pre-Columbian galleries are on the second floor. Art from the pre-Columbian era line the walls, along with sculptures, paintings, and traditional clothing from that era. Farther down, the African and Native American galleries feature similar works, as well as head masks and a section of African ceramics.

“The African ceramics … are pretty new. We acquired a big collection of 403 African pots, so we decided to open a brand new gallery dedicated to just that art form,” said Emily Hanna, PhD, senior curator of the Arts of Africa and the Americas. “It’s really beautiful. People love to just stop, sit, and watch the video [of African women making pottery] in that section.”

The BMA has about 2,000 works of African art, which is much more than what’s on display. Because the collection is so large, Hanna changes the gallery out about every six months or so. She does the same with the pre-Columbian and Native American galleries.

“Anything that is fabric, works on paper, anything that is light-sensitive has to be changed out often. You just can’t leave them out [because they] will fade,” said Hanna. “Some of our galleries don’t change out; the things that change are for special exhibitions. In my galleries, I try to keep things moving. I have enough textiles that if you come every three to four months, you’re going to see something different.”

Hanna considers visitors who haven’t seen these types of work before and how they can connect to them.

“People might have preconceptions about [certain works] if they haven’t had the chance to visit, so you have a really short opportunity to capture people’s interests and get them to read a label if they wander in,” she said. “Maybe they’re interested in the way something looks, but think about it: How much time will you give a label or really take to learn something?

“That’s the challenge: to create an installation that will attract someone to look at and learn about something. A lot of people who saw [the movie] ‘Black Panther’ are now very interested in textiles, costumes, clothing, architecture, and Afro-futurism. [We offer] a window for people to come in and see if what we have here is what they saw in the film.”

The Birmingham Museum of Art is open Tuesday through Saturday, from 10 a.m. to 5 p.m., and Sunday, from noon until 5 p.m. For more information, call 205-254-2565; visit www.artsbma.org; or follow on Facebook @Birmingham Museum of Art and on Twitter and Instagram @Bhammuseum.

This article originally appeared in The Birmingham Times.

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WATCH LIVE! — NNPA 2023 National Leadership Awards Reception

NNPA NEWSWIRE — Welcome to the NNPA 2023 National Leadership Awards Reception
The post WATCH LIVE! — NNPA 2023 National Leadership Awards Reception first appeared on BlackPressUSA.

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September 22, 2023

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OP-ED: Delivering Climate Resilience Funding to Communities that Need it the Most

NNPA NEWSWIRE — Just last month, FEMA announced nearly $3 billion in climate mitigation project selections nationwide to help communities build resilience through its Building Resilient Infrastructure and Communities (BRIC) national competition and Flood Mitigation Assistance program. In total, more than 50% of these projects will benefit disadvantaged communities, and in particular, 70% of BRIC projects will do the same.
The post OP-ED: Delivering Climate Resilience Funding to Communities that Need it the Most first appeared on BlackPressUSA.

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3 days ago

September 22, 2023

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By Erik A. Hooks, FEMA Deputy Administrator

We know that disasters do not discriminate. Yet, recovery from the same event can be uneven from community to community, perpetuating pre-existing inequalities. Recognizing these disparities, FEMA and the entire Biden-Harris Administration have prioritized equity when it comes to accessing federal programs and resources.

The numbers tell the story.

Just last month, FEMA announced nearly $3 billion in climate mitigation project selections nationwide to help communities build resilience through its Building Resilient Infrastructure and Communities (BRIC) national competition and Flood Mitigation Assistance program. In total, more than 50% of these projects will benefit disadvantaged communities, and in particular, 70% of BRIC projects will do the same.

These selections further underscore the Biden-Harris Administration’s commitment to equity and reaffirm FEMA’s mission of helping people before, during and after disasters, delivering funding to the communities that need it most.

Building on this momentum and our people-first approach, FEMA recently announced the initial designation of nearly 500 census tracts, which will be eligible for increased federal support to become more resilient to natural hazards and extreme weather worsened by the climate crisis. FEMA will use “Community Disaster Resilience Zone” designations to direct and manage financial and technical assistance for resilience projects nationwide, targeting communities most at risk due to climate change. More Community Disaster Resilience Zone designations, including tribal lands and territories, are expected to be announced in the fall of 2023.

These types of investments have, and will yield a significant return on investment for communities nationwide.

For example, in my home state of North Carolina, the historic community of Princeville, founded by freed African American slaves, uses BRIC funding to move vulnerable homes and critical utilities out of flood-prone areas.

In East Harlem, BRIC dollars will provide nature-based flood control solutions to mitigate the impacts of extreme rainfall events in the Clinton low-income housing community.

While we are encouraged by these investments, we know more must be done.

Not every community has the personnel, the time or the resources to apply for these federal dollars. Fortunately, FEMA offers free, Direct Technical Assistance to help under-resourced communities navigate the grant application process and get connected with critical resources. Under the leadership of FEMA Administrator Deanne Criswell, this assistance has been a game-changer, reducing barriers and providing even more flexible, customer-focused, tailored support to communities interested in building and sustaining successful resilience programs.

In Eastwick, Philadelphia, FEMA’s dedicated support helped the city with outreach to multiple federal agencies. Together, we built a comprehensive community-led flood mitigation strategy. When applied and implemented, this will make this community more resilient to hazards like flooding, which was negatively affecting many neighborhood blocks.

In DePue, Illinois, we worked hand-in-hand with communities to improve their ability to submit high-quality funding applications for hazard mitigation projects. We are happy to share that DePue is the first Direct Technical Assistance community to be selected in the BRIC national competition. And, we know they will not be the last. Thanks to this assistance and their ambition, DePue was awarded more than $20 million to build a new wastewater treatment plant, which will reduce flooding and raw sewage back-up into the basements of homes.

In total, our agency is working with over 70 communities, including tribal nations, to increase access to funding for mitigation projects that will make communities more livable and resilient.

With extreme weather events becoming increasingly intense and frequent due to climate change, we must keep pressing forward and continue investing in ways to better protect ourselves and our neighbors. And we are encouraged that local officials are engaging with us to learn more about the benefits of the BRIC non-financial Direct Technical Assistance initiative—just last week, we saw hundreds of participants nationwide register for a recent webinar on this important topic.

We want to see even more communities take advantage of this initiative, and, ultimately, obtain grants for innovative and forward-looking resilience projects. To that end, FEMA recently published a blog with five steps to help local communities and tribal nations learn more about the benefits of this non-financial technical assistance to access federal funding. I hope your community will take action and submit a letter of interest for this exciting opportunity and increase meaningful mitigation work throughout the country.

With the pace of disasters accelerating, communities can utilize federal resources to reduce their risk and take action to save property and lives. FEMA stands ready to be a partner and collaborator with any community that is ready to implement creative mitigation strategies and help build our nation’s resilience.

The post OP-ED: Delivering Climate Resilience Funding to Communities that Need it the Most first appeared on BlackPressUSA.

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Tale of Two Underground Railroad Communities

ARIZONA INFORMANT — Prior to the Civil War, many communities in the Ohio River Valley were a part of an elaborate system that provided resources and protection for enslaved persons from Southern states on their journey to freedom. Once someone crossed the Ohio River, they traveled along unknown terrain of trails to safe houses and hiding places that would become known as the Underground Railroad.
The post Tale of Two Underground Railroad Communities first appeared on BlackPressUSA.

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September 20, 2023

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By Christopher J. Miller, Sr. Director of Education & Community Engagement, National Underground Railroad Freedom Center

Christopher J. Miller

September is International Underground Railroad Month.

This proclamation began in the State of Maryland in 2019, and now more than 11 States officially celebrate one of the most significant eras in U.S. history. With the signing of Ohio HB 340 in June 2022, Ohio became the 12^th state to designate September International Underground Railroad Month.

Many history enthusiasts and scholars hope the momentum of the proclamation spreads to other states so that all our forebears of freedom are remembered.

Examining this era, you find that the Ohio River Valley is instrumental in the many narratives of freedom seekers. These stories are critical to our understanding of race relations and civic responsibilities.

Before the Civil War, many communities in the Ohio River Valley were part of an elaborate system that provided resources and protection for enslaved persons from Southern states on their journey to freedom. Once someone crossed the Ohio River, they traveled along unknown terrain of trails to safe houses and hiding places that would become known as the Underground Railroad.

Gateway to Freedom sign

The Underground Railroad was comprised of courageous people who were held to a higher law that confronted the institution of slavery with acts of civil disobedience by helping freedom seekers elude enslavers and slave hunters and help them get to Canada.

Many communities were a force for freedom along the more than 900-mile stretch of the Ohio River Valley, but I would like to focus on two significant communities.

Southern Indiana was a major part of this history. It was originally believed that there were from Posey to South Bend, Corydon to Porter, and Madison to DeKalb County, with many stops in between.

In further examination, the Underground Railroad in Indiana was a web of trails through the forests, swamps, briars, and dirt roads. The city that is often overlooked in reflecting on the history of the Underground Railroad is New Albany, Indiana.

By 1850, New Albany was the largest city in Indiana, with a population of 8,632. Free Blacks accounted for 502 of that population. Across the river, Louisville was Kentucky’s largest city, with a population of 42,829. A quarter of the 6,687 Black population were free in Louisville.

Town Clock Church (aerial view)

Louisville and New Albany would grow to become a significant region for Underground Railroad activity. People like Henson McIntosh became a prominent community member and major Underground Railroad conductor. McIntosh was one of approximately ten Underground Railroad agents in New Albany who used their wealth and influence to impact the lives of freedom seekers crossing the Ohio River.

The Carnegie Center for Art & History is an outstanding resource that continues to preserve New Albany’s role during the Underground Railroad era. Approximately 104 miles east along the Ohio River is another institution that plays a critical role in elevating the profile of the Underground Railroad on a national scope.

Inside Town Clock Church New Albany Indiana safe house

The National Underground Railroad Freedom Center is located on the banks of the Ohio River in Cincinnati, Ohio.

By 1850, Cincinnati would grow to be the 6^th largest city in the Union, with a sizable Black population.

The Freedom Center is prominently located in the heart of a historic Black community called Little Africa. Although the community no longer exists, its legacy lives on through the Freedom Center.

As with New Albany, the community that resided along the banks of the river served an important role in the story of the Underground Railroad. Little Africa was the gateway to freedom for thousands of freedom seekers escaping slavery.

Although there were Underground Railroad networks throughout the country, Ohio had the most active network of any other state, with approximately 3,000 miles of routes used by an estimated 40,000 freedom seekers that crossed through Little Africa.

Despite the growth of enslavement leading up to the Civil War, communities such as Little Africa and New Albany reveal the realities regarding race relations and a model for the dignity of human life through their respective efforts to be kind and resilient friends for the freedom seekers.

For More Information:

National Underground Railroad Freedom Center – https://freedomcenter.org/

Cincinnati Tourism – https://www.visitcincy.com/

Carnegie Center for Art & History – https://carnegiecenter.org/

Southern Indiana Tourism – https://www.gosoin.com/

The post Tale of Two Underground Railroad Communities first appeared on BlackPressUSA.