Video: Beyond Granite Reflections

With the Beyond Granite exhibition closing a few weeks ago, I wanted to take a moment to delve into the meaning of commemoration here in Washington, DC. This video offers notes on the specific elements of each of the six installations, but also delves into the motivations behind the artists' design choices.

What truly struck me was the profound way in which these installations connected with the existing commemorative landscape of the Mall. It was fascinating to witness the powerful intersections between history, art, and remembrance, and how they all intertwine to create a tapestry of meaning that —in theory— transcends time. Even if the exhibition was but one month in duration, the reflection on commemoration will continue.

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Exhibition Spotlight: Afrofuturism

Surprisingly, one of the more intriguing parts of my recent visit to the Afrofuturism exhibition was the exhibition booklet. Typically, the exhibitors booklet --if there even is one-- is a mostly ephemeral folded pamphlet with obligatory, but duplicate information. I will usually pick one up whenever I first enter a new exhibition, but if it looks like I won't get anything out to it, I put it back in the rack for the next person.

Not so with Afrofuturism: A History of Black Futures. Just as the NMAAHC has done with their exhibition websites, they have created a booklet that compliments and extends your experience beyond exhibition. It is deemed a "Cosmic Companion" and that rings true. 

The booklet helps you plan your walk through the exhibitors with "Discover Treks," offers prompts and questions to enhance your visit beyond the objects, and even offers tips on how to interact with the museum itself; from defining the word "object" wo helping you manage the time you have to see it all. I really loved the booklet and have been flipping through it the past few days admiring the work that went into it. 

As for the exhibition itself, it is a vast, but also focused on the evolving concept of Afrofuturism. Yes, it does concern the future, but also the past. It posits past and present struggles for freedom as afrofuturist in nature; reimagining a future of freedom and autonomy. 

The exhibition delves into multiple disciplines such as music, movies, television shows, literature, comics, commentary, and poetry. 

The objects and displays are broken up into three "Zones" -- 1) The History of Black Futures 2) New Black Futures 3) Infinite Possibilites. In between the Zones are "Portals," a tiny transitional story to the next section. There is even a looping replay of Gil Scott-Heron's "Whitey on the Moon" looping in one of the portals. Love it.

It's a vast exhibition that explores multiple aspects of what "future" has meant, and could mean as concept. This is a great follow up to the Smithsonian's FUTURES exhibition last summer at the Arts & Industries Building. 

Afrofuturism will be open for exactly one year: March 24, 2023 - March 24, 2024. It's located on Concourse Level C1, the first thing you see on the left after talking the escalator from the ground level down to the lower level exhibitions. 

Reserve tickets to the Museum here (link).

Exhibition Spotlight: Afro-Atlantic Histories

Afro-Atlantic Histories is both 1) an historical exhibition about the African diaspora *and* 2) an array of depictions of the African diaspora in art, past and present. Expectedly, it's more the latter, but art can inspire us to learn more, and also inform us in the meantime.

Hosted at the National Gallery of Art (NGA), this exhibition feels extremely worldly, perhaps more than any other recent exhibition there. Originally this show debuted in 2018 at Brazil's Museu de Arte de São Paulo.

This show has over 130 artworks and objects from the 17th century to today. Media from paintings, to metal & wood sculptures, to photographs, to video are all present, and more. The entire show comprises about six galleries, which is substantial for NGA. It is worth a trip.

Afro-Atlantic Histories is open through July 17, 2022.

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Exhibition Spotlight: Block by Block

I *loved* with this tiny exhibition at the National Portrait Gallery on the origin of DC street names. The material only touches on a few streets, but I appreciated the bits of history covered.

At just about 1,000 square feet, it won't take long to see the entirety of the exhibition, but for DC area residents, it is pretty neat learning about the people behind the names of streets we live, work, and play on. For example, the exhibition includes Gales Street NE, a narrow, ginkgo tree lined side street not far from my home neighborhood of Carver Langston. For the first time I learned about its namesake, Joseph Gales, Jr. Gales was a journalist & one time mayor of DC in mid 1800s.

Other historical figures featured are Benjamin Banneker (Banneker Circle SW), Otis Howard (Howard Pl NW), and Clara Barton (Clara Barton Parkway). Block by Block: Naming Washington is located on the second floor on the F Street side of the building. Open though January 2023.

Exhibition Preview: The Wall/El Muro

The National Building Museum is open Friday-Monday 11am-4pm. 401 F Street NW.

What is a border? I often think about borders living here in the District of Columbia. Since Virginia, Maryland, and the District comprise a dense and diverse metropolitan area, much attention is paid to borders, what living on one side or the other means for your life, and what those borders say about us depending on where we live and work relative to them. Even within DC itself, political borders like Wards and Quadrants are significant markers of identity and policy. 

The Wall/El Muro: What is a Border Wall? exhibition at the National Building Museum is both a swift historical dive into the U.S.-Mexico border as part of our built world, as well as an introduction to understanding the impact of the infrastructure itself. This show is presented in English and Spanish.

The exhibition takes a wide view at the outset, helping visitors define what a border actually is and displaying a fascinating map (c. 1728) of Spanish North America denoting the borders of American Indian tribes before the British, French, Spanish, and others divided up the continent, eventually morphing into the national borders we have today. Of course national borders are not new, and not exclusive to North America, a fact smartly acknowledged here in the first bay, visualizing border walls and barriers across the globe. 

Border wall prototypes c. 2019.

From there the focus is in the U.S.-Mexico border, and not just the physical manifestation of the border wall. The exhibition has a running timeline from the late 1700s to present day on border policy, popular fears around immigrants and immigration, and national immigration policy itself. 

There is a good division among storytelling about the history of the border wall, examination of the physical infrastructure of the many types of walls & barriers, and the impact of the existence of borders including on the people who cross or attempt to cross, the mechanisms around how we ask people to access borders, and the results of the often dangerous and violent process of interacting with the border.

Migrant belongings left behind in the Sonoran Desert.

Complementing the maps, timelines, and infographics are several extraordinary objects.

One ordinary chain link fence with barbed wire atop stood out even before I entered the exhibition because I could see it from the Museum's Great Hall, which has windows into the show. This small section of fence was used by U.S. authorities in 1950 as part of a border wall between Mexico and the U.S. state of California. It was installed in 1950. This fencing had been used before, though. During World War II, it separated internees from the outside world as they were detained in the Crystal City Alien Enemy Detention Facility in Texas. A fence serving two borders, within a different time, space, and affect.

Another was the bright pink teeter-totter, a universal children's play thing and simple machine, but also a protest. The teeter-totter brought children together through the border fence, with each half of the lever on the opposite of the border wall between Mexico and the United States. A short accompanying video shed light on the artists and the installation which was located near El Paso, Texas.

I walked away still thinking about the essence of what it means to have national borders, state borders, even local neighborhood borders. So many questions are still on the table after seeing this exhibition: Do borders necessarily beget violence? Who decides where borders are located? In which other forms, besides lines on a map or fences in the ground do we enforce borders? What would a borderless world look like? And so many others. In this way, I consider the exhibition a success.

The Wall/El Muro opens on Saturday November 6, 2021 and closes one year later on November 6, 2022. It;s located on the first floor of the National Building Museum at 401 F Street NW in downtown Washington, DC. The Museum is currently open Friday-Monday 11am-4pm. Tickets to the museum cost $10 for adults. OYu can still enter and view the Great Hall for free, which I highly recommend!

The Museum’s Great Hall is open to the public whenever the museum is open.

This exhibition preview was made possible by montly supporters on Patreon. Thanks to you all! Get weekly history posts, photos of DC’s most interesting places, and as more museums reopen, exhibition previews and reviews. Check it out—> Patreon: Attucks Adams.