“Artists Terry Adkins, Mark Bradford, Kerry James Marshall, Debra Hand, Richard Hunt, Preston Jackson, and Archibald Motley – All at the Peoria Riverfront Museum!” by Debra Hand
by Debra Hand
Courtesy of artist, Debra Hand
In the art-museum world, there are still too many institutions proclaiming the status of “woke and relevant” while they sleep-walk past every real opportunity to create change through art. They dispatch non-stop PR sound-bites to the press—highlighting words like “change and inclusion”—even as employees flee in the background for positions elsewhere, fed-up with the museums’ hypocrisy.
For a museum to become truly inclusive, it requires more than decorating the auditorium podium with Kente cloth for the month of February or hurriedly tucking a few artists of color into what is popularly referred to as “gaps in their collections.” For museums to create change in humanity, there are hard conversations to be had, conversations which many still avoid as they teeter totter between business-as-usual and a public pretense at new found “woke-ness.”
What I mean by “hard conversations” are those discussions where museums specifically don’t get to refer to excluding Black art from the whole of American art history as a mere “gap in their collections.” After all, acknowledging what a museum needs to change from is the first logical step in understanding what it needs to change to. Not to mention that words like “gap” are dismissive of the actual damage caused by past and current exclusions. Still, when all is said and done, there’s really only one test that can determine if an American-art themed museum qualifies for the coveted status of “woke.”
The test is simply this: Is your museum creating change through art for the betterment of humanity through the equal representation of all American artists?
Check “Yes” or “No” and put your number-2 pencils down. There is no other test or metric to consult beyond this single question.
But what does real inclusion on the museum level look like? I recently had the pleasure of witnessing exactly that at the Peoria Riverfront Museum where work is clearly being done to help steer a narrative of American art onto a new route mapped-out by reality, rather than the fairytales of those still asleep. For his American Verses Exhibit, the Chief Curator, Bill Conger, stepped up boldly to open the floor to critical dialogues aimed at establishing a fuller (more truthful) narrative about who we are as a nation. This exhibit was made possible through generous loans of artwork and funding gifts from Art Bridges and the Crystal Bridges Museum with additional support from the Visionary Society and the Illinois Arts Council Agency.
“Thelxiepeia” 96 in. x 18 ft. by Mark Bradford (mixed media collage with beauty shop end-papers) – Photo credit: Bhakti
As we all know, American history tends to resist facts that blemish the bedtime stories of old, so when Black artists can be seen in multitude at an American museum while telling their own stories in their own voices, well…break out the confetti!
The line-up I witnessed at the Peoria Riverfront Museum is one for the books: In separate exhibits, but in the museum building at the same time, you had works by (in alphabetical order): Terry Adkins, Mark Bradford, and Kerry James Marshall–all three of them in the American Verses exhibit. Then you had Archibald Motely, Richard Hunt, Preston Jackson, and humbly, me, Debra Hand, expanding the discourse into every area of art from contemporary to abstract to figurative to narrative to historical.
“Native Son – Circus” by Terry Adkins (forefront piece) Visual + Sound sculpture – Back Wall – “Thelxiepeia” 96 in. x 18ft. by Mark Bradford – Art on loan from Art Bridges – “American Verses Exhibit Chief Curator: Bill Conger – Photo above and below credit: Bhakti
American Verses Exhibit -Peoria Riverfront Museum – Chief Curator Bill Conger Photo credit: Bhakti
Digital screen showing image of “Our Town” by Kerry James Marshall – Photo credit: Bhakti
First, let me start with the American Verses Exhibit created by Chief Curator Bill Conger.
The pieces in the American Verses Exhibit were “Native Son (circus)” cymbal sculpture by Terry Adkins; “Thelxiepeia,” an 8′ x 18′ work by Mark Bradford; and a group of prep-sketches by Kerry James Marshall for his iconic painting “Our Town.” This grouping of profound works by three of the most important names in contemporary art was outstanding! Through these works, Conger created several important in-roads and touch-points for a deep and meaningful dialogue between these works. He identified their cross-functional references to literature as well as to American history via the distinct cultural through-lines inherent in these three distinct Black male perspectives.
In grouping these works, Conger constructed the platform for a deep-dive examination and conversation about American art and history. For me, the American Verses Exhibit effectively centered vital questions about which Americans get to say what, where, and how; namely which cultural groups have been historically amplified and which have been hidden from America’s institutional stages, and how such factors have influenced the trajectory of American art. I enjoyed the truly unique ways in which each artist declared their voice.
Mark Bradford, armed with only Jheri curl end-papers and paint, has hewn into substance and importance a monumental masterpiece of line and composition. His work epitomizes the cultural concept of “making something from nothing.” It echoes a lineage of unyielding creative brilliance that (for our ancestors) produced both mechanisms of survival and art. Terry Adkin’s installation of cymbals—wired to sound out suddenly and intermittently at times of their own choosing and accord—activate a myriad of topics from Black music to jazz to literature to self-empowerment, as well as the mechanization of power itself. Kerry James Marshall’s sketches for “Our Town,” by its title alone, prompts questions of claimed spaces, ownership, and communities as structured by both internal and external forces.
There were so many inferences and interpretations to be extracted from these pieces presented together.
This exhibit was powerfully thought provoking. All of these works were made available through a generous loan from Art Bridges and the Crystal Bridges Museum who have made unprecedented commitments to expanding access to works by some of America’s greatest artists. They are doing the actual work to change the historic formula for who has access to great art. Through their art loans and other financial support, they are insuring that masterpieces by America’s great and diverse range of artists are made available for exhibits that further foster inclusiveness and community.
Educational programs were also created around the American Verses exhibit, as well as a festival celebrating it with a virtual panel moderated by Chief Curator, Bill Conger, and coordinated by Everley Davis, Educator and Student Engagement Coordinator. I must add, I remain impressed by Everley, a smart, socially conscious and highly polished young professional who it was a pleasure to meet. It’s nice to know that the future of museum education is being modeled with such care and consciousness. I was so honored to be invited to exhibit work, as well as participate in the virtual conversation which included the great sculptor/painter/writer Preston Jackson, and acclaimed, award-winning playwright, Tsehaye Hebert, who is also a disability advocate.
For this occasion, I was greatly inspired by American Verses and wanted to create an artwork that boldly confronts, examines, and challenges historical notions of Black art and culture by illuminating the intricacies and complexities of their evolutions. I created a text-on-canvas installation consisting of two parts: the visual art and the audio of the text it contains, recited by me. And may I say, I put my heart into it and I hope the late Dr. Margaret Burroughs, principal founder of the DuSable Museum, is proud of me in this moment. She was my mentor who stressed how crucial it was to create change on the institutional level, and watching the YouTube link for my artwork, you’ll see why it was so vital for it to be seen in the context of a museum. (The YouTube link appears at the end of this article.)
I created a narrative piece that intersected context-wise with American Verses and really examined the question, “What is Black art?”
I wanted to approach the subject from every perspective, particularly from a historical one, and to contextualize this subject from a cultural first-person perspective. Seventeen hundred and twenty eight words later, I was shipping my 4′ x 2.5′ canvas piece to the museum with no idea how it would be incorporated or placed in the museum, so it was such an honor to learn that the sacred place chosen to hang my piece was at the very entrance to the American Verses gallery installation, effectively allowing my piece to segue into the critical conversation being created by the exhibit.
It was an honor to say the least, especially because I understood that just being invited to exhibit work in the museum at such a special moment meant that whatever I created needed to be about something greater than me. This was an opportunity to help clarify our narrative in American history, and to add important Black perspectives to America’s story on behalf of the powerful cultural group that created me. This is why I titled the piece “We The People – Too.” I saw it as a historic declaration created in the style of the U.S. Constitution, like an appended verse long-absent from past narratives of American art.
Artist: Mark Bradford “Thelxiepeia” 96in. x 18ft. (left) Artist: Debra Hand “We The People –Too” (right) 1728 words, 2.5 ft. x 4 ft. Peoria Riverfront Museum – Chief Curator: Bill Conger. “Thelxiepeia” loaned by Art Bridges.
Having grown accustomed to curators passively side-stepping the hard conversations about American history, which only those focused on creating real change might indulge, I was proud to see that the Chief Curator, Bill Conger, had given sacred space to my bold piece on Black art and culture. He was not only prepared to indulge the bold conversation my piece presented, but moreover, he was prepared to expand this critical dialogue by placing the piece prominently at the entry point of the American Verses exhibit and allowing it to segue into this important conversation and history.
Additionally, Everley Davis, had the brilliant idea to add a QR code to the piece that links to the audio spoken by me in the manner of a historical address.
“We The People – Too” by Debra Hand | 2.5ft. x 4.5ft. Acrylic paint on canvas (black) with metallic Gold & Silver paint pen on text – 1728 words Photo credit: Bhakti
This truly takes the term “in our own voices” to its maximum meaning and function.
Also at the Peoria Riverfront Museum, speaking powerfully in the language of the figurative arts, was and still is the phenomenal permanent installation Bronzeville to Harlem: An American Story. This large-scale installation by the preeminent sculptor Preston Jackson is his 25-year labor of love, sculptural depiction of a vital segment of America’s story. Jackson’s masterpiece of artistry and history is complete with sculpted miniatures of people and landmarks, including the many vignettes of activities from their lives, communities, and the social hierarchies they inhabited. To top Jackson’s exhibit off, the renowned painting “Bronzeville by Night” by the late legendary artist, Archibald Motley was bought in to specifically expand the dialog of Jackson’s installation and its rich historical narrative. This historic painting is also on loan from Art Bridges. What a grouping!
How proud Jackson must be to have an original painting (by one of the most iconic Black artists in American history) in conversation with his work. By the way, both Motley and Jackson have deep ties to the School of the Art Institute of Chicago from which Motley graduated in 1918, and where Jackson long served as an esteemed professor emeritus, as well as chair of the sculpture department. For both artists, their deep visceral connections to Bronzeville, the Great Migration, and the Harlem Renaissance creates a through-line from Motley’s legacy work to Jackson’s, and so much history is captured by Jackson’s installation as well as the pairing of these works on display at the Peoria Riverfront Museum.
Although no amount of photos can really show the depth and intricacy of this huge installation by Jackson, which is on permanent display and a must-see-in-person phenomena, here are few sections of it to give you an idea of the sheer amount of history it includes and the astronomical amount of sculpting, constructing, conceptualizing, and research this 25-year long work of art required of the artist.
Preston Jackson pictured proudly with Archibald Motley painting “Bronzeville by Night” on loan from Art Bridges. All photos for Bronzeville to Harlem: An American Story” courtesy of Preston Jackson Art
Courtesy of artist Preston Jackson
Courtesy of artist Preston Jackson
In Preston Jackson’s exhibit, Bronzeville to Harlem: An American Story, you can also see Jackson paying homage to the great sculptor, Richard Hunt. The tall blue sculpture (pictured below) in Jackson’s installation acknowledges the groundbreaking legacy of Hunt, one of America’s most accomplished sculptors.
Blue sculpture is a Preston Jackson tribute to Richard Hunt
Richard Hunt is the go-to legend for iconic public sculptures and is so respected both artistically and academically that he holds “15 honorary degrees from all over the country.” At one point, Hunt had the distinction of having the largest body of public sculptures and monuments by any living artist. His decidedly abstract sculptures dot the cityscapes of America, and his iconic 20-foot tall monument to the legacy of Ida B. Wells is absolutely historic. By the way, congratulations to Richard Hunt who was recently commissioned by the Obama Library to create an outdoor monument.
“Active Hybrid” by Richard Hunt in memory of Inette Goldstein – photo: courtesy of Preston Jackson
Coincidentally, Richard Hunt also shares ties with both Archibald Motley and Preston Jackson via the School of the Art Institute of Chicago where Hunt attended from grammar school through to his Bachelor’s degree. Also on view at the Peoria Riverfront Museum is a sculpture by Richard Hunt from the museum’s permanent collection titled Active Hybrid. The sculpture is on perpetual display, standing in memory of the life of Inette Goldstein. It was given to the museum by her friends in her honor.
All of this great artwork and American history stood on full display under one roof, in one museum, concurrent with the stellar American Verses Exhibit which has now ended. Currently on exhibit is a stunning collection of quilts owned by the renowned documentary filmmaker, Ken Burns. Ken Burns is a consummate artist of American truth-telling and documenting America’s history in its full complex truth. I can only imagine the level of story-telling these quilts hold, but just visually, alone, they form a striking display of American craftsmanship. This amazing display of American handwork and creativity is well worth the trip, along with Bronzeville to Harlem: An American Story which is on permanent exhibit, as is the Richard Hunt sculpture.
This is what American art looks like: representations of art by all of America’s great and diverse artists.
This is what change-through-art looks like, and it is an exemplary lead for other museums to learn from—especially since they continue to serve as trusted sources for what is historically and culturally important, and what is not. This is why Dr. Burroughs spent her life creating change at the institutional level, as well as the community level. She understood that museums play a crucial role in both establishing and changing America’s narrative, and in helping us all to see more deeply into our own humanity.
So cheers and confetti for Chief Curator, Bill Conger, the Peoria Riverfront Museum, Art Bridges, and the Crystal Bridges Museum for doing the work to expand consciousness through art and using art intentionally to create change on behalf of humanity. And to those museum leaders who are still snoozing peacefully past the “woke” alarm, content to believe their own press, the Peoria Riverfront museum is what “woke” looks like.
Finally, “Thank YOU” to Barb Dawson, Director of Education & Engagement at the Peoria Riverfront Museum for her graciousness and leadership. A special “Thank YOU” to Everley Davis; as well as to Angela Drach, Museum Educator & Programs Coordinator who is creating educational programming around the Archibald Motley piece in conversation with Preston Jackson’s installation; and to everyone working behind the scenes to create these awesome moments in American art history! I’m so proud to have been part of this incredible story, and to have been featured in the museum along with all of these iconic, history making artists!
Here’s the YouTube link to the video and audio of my piece “We The People –too.” It’s a good cup-of-coffee long, but I’ve been told by some prominent names in the artworld that it is well worth your time and attention. All I can say is, I truly spoke every word from my heart, and I hope it makes you proud.
“We The People – Too” by Debra Hand https://youtu.be/bd3q6kIsX_c
Thank you for reading (and listening) today. As always, we welcome your comments in the space provided below.
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DEBRA HAND is a museum-collected sculptor, painter, and writer. She is the creator of the historic bronze statue of Paul Laurence Dunbar in Dunbar Park. Among the history makers who own her works are former President Barack Obama; Hillary Clinton; Harry Belafonte; Cicely Tyson; Smokey Robinson; Yo-Yo Ma; Spike Lee; Seal; Sinbad; and the renowned sculptor, Richard Hunt; the late Winnie Mandela, and the late Dr. Maya Angelou also owned her work. Debra Hand holds a Master of Science Degree from the Robert R. McCormick School of Engineering at Northwestern University. She is a self-taught artist whose talent was discovered by the legendary Dr. Margaret Burroughs, principal founder of the DuSable Museum. It was Burroughs who arranged for Hand’s first public exhibit.
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