Search results | Digital Grinnell

Title: Bondage and Freedom
Description: This block memorializes the pain and violence inflicted on black bodies in both Haiti and America during the time of slavery. The artist has placed drawings of an active foot and hand, body parts most commonly immobilized by chains and ropes during slavery, at the center of this piece, and surrounded them with leaves, flowers, keys, broken chains, drops of blood, and long-lost pieces of jewelry, items evocative of a past left behind and destroyed at the hands of slavery. These items appear to rotate in a circle around the foot and hand caught in the moments before taking a step or lifting the page of a book, giving the piece an element of movement and the feeling of ceaseless change. This piece encourages the viewer to remember the terribleness of physical bondage and enslavement, yet it also celebrates the liberation from these chains and the physical freedom many of us have come to take for granted. Furthermore, it reminds us to always keep moving towards a brighter future no matter what we may have left behind.
Date Created: 2017
PID: grinnell:25502

Title: Captured
Description: This block aims to capture the ironic nature of the institution of slavery. This block includes an image of slaves on a plantation, framed by various found objects. The artist has incorporated a crucifix into the design, signifying the use of christianity as a means justify the enslavement of bodies. The image conjures a feeling of darkened antiquity and tarnish, further accentuated by rusty keys and other metal objects which surround the photograph, alluding to how the people in the image were utilized for the purpose of profit and industry with no attention paid to their human needs. When we consider visualizing freedom we must consider the nexus of capital and material and its effects on the enslaved body, a topic unfortunately still relevant in capitalist America today.
Date Created: 2017
PID: grinnell:25485

Title: Foundations
Description: When confronting the reality of plantation slavery in America, aspects of life which seemed normal in the early 1880’s are often difficult to conceptualize today. In this block, the artist calls attention to the tradition of child raising, in which slaves were given the task of nursing and raising their master’s progeny. It seems counter-intuitive that one could believe a slave so unworthy of human dignity, yet at the same time entrust them with the life of their child. In this block, a portrait of a slave with their master’s baby is framed by a pattern comprised of enlarged images of a human cell, encouraging a contemplation of the hypocrisies present in the theoretical foundations of slavery, including the supposed biological and intellectual inferiority of black people. Most often, slaves bore responsibilities foundational to the prosperity and functioning of their owners; they were worthy of motherhood but not the recognition of full humanity. By featuring a female-bodied slave in this block, the artist also pushes the viewer to contemplate the highly gendered nature of slave work and how it reveals inconsistencies in the theoretical foundations of racial superiority in America.
Date Created: 2017
PID: grinnell:25493

Title: In Honor of Mary Touvestre
Description: This block honors Mary Touvestre, a freed slave who risked her life to protect the Union army from a disastrous naval attack. This block includes an image of the plans for the Confederate ship The Merrimack, plans that were once stolen by Mary Touvestre, a housekeeper for a Confederate engineer in Norfolk. After hearing the engineer speak about the importance of the ship, Touvestre recognized the danger it imposed upon the Union’s naval forces who were blockading Norfolk’s supplies from Europe, imploring her to steal the plans for the ship and embark on a 195 mile trip through enemy lines to inform the Department of the Navy in Washington of the impending danger. In this block, the danger posed by the ship is highlighted by nails embedded around the head of the warship. The tangling string that weaves through the block depicts the length of the journey, and the risk shouldered by a black woman traveling on foot through Confederate lands. Touvestre report urged officials to speed up plans for constructing an ironclad ship for the Union army, saving them from an ugly attack for which they would not have been prepared. If Touvestre had never provided the intelligence, the USS Merrimac would have been given several more unchallenged weeks to quite possibly disrupt the Union’s blockade of Norfolk. The purpose of this block is to celebrate and honor the countless slaves and freed blacks living within Confederate regions who risked their lives to serve the Union army. In this piece, we also recognize the wider sacrifices made by black people to support a country that has continued to deny them humanity and safety.
Date Created: 2017
PID: grinnell:25508

Title: In Memory of Hannibal Kershaw
Description: In this block the artists decided to honor Hannibal Kershaw and recognize the legacy he left on Grinnell during his time here as a student. Hannibal Kershaw was the first black student to graduate from Grinnell College in the early 19th century. The Iowa College Newsletter called Kershaw “an earnest, conscientious student, a fluent society speaker, and a man whom all respected for his high moral and religious character.” After graduating from Grinnell, he became a member of the South Carolina legislature and was also a teacher and a minister. Although Kershaw passed away only 4 years after leaving Grinnell, his memory is honored in the East Campus hall named for him, and now also in this piece of art. In this block, the artists have included a photograph of Kershaw along with the commemorative sign on Kershaw Hall, as well as keys and screws to symbolize not only the dorm, but also Kershaw’s commitment to building respectful race relations at the college and the symbolic doors he opened as the first black graduate of Grinnell. The artists also included a bird in flight, meant to remind viewers that while loved ones may be gone, their legacy will be remembered forever. Lastly, a piece of twine placed between these images reminds us of how connected the struggles of people of color are all over the world. Although Kershaw never set foot in Haiti, he certainly knew the pain and legacy of slavery and colonization, and felt the burn of racism even in Grinnell.
Date Created: 2017
PID: grinnell:25515

Title: Loving v. Virginia
Description: In 1967, the Supreme Court of the United States unanimously voted to dismantle all state laws prohibiting intermarriage, overriding legal restrictions based on race written in 1883. In this block, created by studio assistant Leina’ala Voss, the first page of the Loving v. Virginia court transcript serves as a partial background on which two rings and a set of keys have been arranged; these objects symbolize the bond of marriage and evoke the feeling of a shared home. To the left of the court transcript the artist has placed a net, surrounded by metal nails, buttons, and fragments of colored flowers. Beneath the netting the words “race mixing is communism” appear as a headline above an image of a white protester, his face concealed behind dark sunglasses. This image is juxtaposed against a photograph which shows laughing children and their parents, innocent and unbothered by the chaos which surrounds them. By placing symbolic objects representative of marriage and domesticity alongside a supreme court document and Loving v. Virginia protest imagery, this block depicts how love itself has become a highly politicized issue defenseless against the noxious gass of racism and hatred. This block also reminds the viewer that even today we must not take our rings and keys, and the people we love, for granted; for there once was a time when even the love we feel for our family was unlawful in the eyes of our constitution.
Date Created: 2017
PID: grinnell:25516

Title: The First Meeting
Description: This piece aims to juxtapose Iowa’s progressive aims with its oppressive past. The centerpiece of this block is a poster publicizing an anti-slavery meeting which took place in Iowa. While anti-slavery meetings such as this one were necessary in the push towards abolition, the artist urges Iowans to explore their state’s relationship to slavery on a deeper level. The artist has incorporated chain-like strands of metal to symbolize the bondage of enslaved peoples, and depictions of genetic material captures the implications of slavery for actual living organisms. While Grinnellians may sometimes put their town on a pedestal for its historic abolitionist position and refusal to join the Confederate Army, this block calls attention to the pain and suffering that still occurred in this state at the hands of racism and white supremacy.
Date Created: 2017
PID: grinnell:25483

Title: The Greatest Lie
Description: This block was created around the theme of agriculture, an industry inextricably linked to slavery in both the Caribbean and the United States. To echo themes of agriculture, the artist included images of the cotton plant, as well as organic shapes which resemble flowers, seeds, and other found natural objects. Corn kernels, buttons, and leaves unite the realms of the home and the outdoors, as was often the case on a working plantation. The center photograph depicts slaves on a cotton plantation engaging in agricultural work, however the workers are not in motion but are posted in a triangular composition facing the photographer. The second photograph is also from a plantation, yet the subjects are household workers as opposed to field hands. These images both show life on the plantation, but only to an extent; they are purposefully arranged and therefore tell a very different story than a candid photograph might tell. These juxtaposed images are symbolic representations of the censorship applied to stories of slavery in American culture and education.
Date Created: 2017
PID: grinnell:25488

Title: The World
Description: This piece represents an abstract approach to visualizing freedom. The only recognizable forms in this piece are two cotton plants, surrounded by abstract organic forms reminiscent of plant life. At the center of this piece the designs converge to create a shape evocative of a skull or head; yet each viewer might have a different reaction to the organization of forms and shapes. What do you see?
Date Created: 2017
PID: grinnell:25501

Title: “Fear God, Tell the Truth, and Make Money”
Description: “Fear God, tell the truth and make money” was the motto of The Iowa Bystander, a newspaper established by ten black businessmen in Des Moines, Iowa in 1894. The Iowa Bystander targeted a black audience and employed black writers, unlike most Iowa newspapers at the time who would not hire black journalists. The Bystander outspokenly criticized American society, taking on several different issues such as the Ku Klux Klan, racist advertising practices, and unequal treatment of blacks in the American armed forces. Most black newspapers in the United States at this time had an average lifespan of about nine years, but the Bystander lasted more than eighty years due to its strong leadership under publishers like John Lay Thompson and J.B. Morris, making it one of the most successful black newspapers in the country. This block incorporates different clippings from the Iowa Bystander. The clippings include several ads for employment opportunities, an advertisement for a colored cafe, and an article about the Iowa State Federation Colored Women’s Club. The paper paid tribute to various women in the ranks of the club, and included beautiful portraits of many of the women involved. Through their journalism, the Bystander was able to empower and connect blacks across America. Newspapers like the Bystander played a critical role in uniting black communities and creating a space for them in white America.
Date Created: 2017
PID: grinnell:25509