Afro-Pessimist Art?

 “Harper’s Pictorial History of the Civil War (Annotated)

This is an art show at the Weisman Museum on the U of Minnesota campus that consists of 15 large-scale prints made by artist Kara Walker. The method is to silkscreen dark, contorted and clichéd figures over the original woodcut prints done by Harper’s Magazine.  Walker has created ‘annotated’ contrasting pieces trying to make a point about the racism of the Union armies for the most part, at least according to the texts accompanying the works. It is difficult to understand the what the picture is about without the text.

Kara Walker - 'Exodus of Confederates from Atlanta'

Along with them are original reproductions of works by Winslow Homer, who depicted the war in painstaking detail through precise black and white drawings of Union and some Confederate soldiers in battle and behind the lines.

The printed descriptions next to the works are Afro-pessimist, intentionally ignoring the key thrust of the Civil War.  Were there northern soldiers who were racist?  Were there depredations of escaping slaves?  Did some profit off cotton trading?  All yes.  What it ignores are the 186,097 black men in the Union army.  What it ignores is the Emancipation Proclamation.  What it ignores is ’40 acres and a mule’ promulgated by Sherman, African-American leaders and abolitionist generals in Savannah.  What it ignores is the key role freedmen and women played in helping Union armies behind the lines, bolstering the war effort.  What it ignores is the steady stream of escaping slaves that went to Union lines or followed the armies.  What it ignores is the ‘white’ soldiers and ‘black’ soldiers who, in practice, smashed slavery, and were injured or died for it.  The absence of context undermines this artistic critique and makes it ring false. 

The Text

The text accompanying the prints makes incorrect or misleading statements about the War.

*One text alleged that union officers “re-enslaved” escaping freedmen.  It thinks the word ‘contraband’ means this.  This purposely misunderstands the term ‘contraband’ – an early legal formulation that allowed Union armies not to return slaves to plantation owners.

*Sherman’s March to the Sea is described as ‘infamous’ – sounding like a Confederate description.

*Union armies in Louisiana seized already picked cotton and sold it in order to fund the war effort.  The text implies that this was just the continuation of slavery.

*The text claims that many African-American women were raped by Union soldiers.  No citations, of course.  Sherman, for instance, made it a point to heavily punish any soldier who raped anyone.  That was U.S. military policy across the board.

*The text highlights several Southern cities that caught fire or were burned… echoing Lost Cause grievances.

*The text maintains there is one ‘dominant’ narrative about the Civil War.  Actually there are two main narratives – one of which contends the Confederacy was a fight for states’ rights, not for slavery.

The impact of the text is something a neo-Confederate might cradle to his heart. This is odd considering the artist is an anti-racist and should appreciate context. Her point is to illustrate the added effects the war had on African Americans.  The text was probably prepared by either the New Britain Museum of American Art or The Museum Box, who originated the show.  There is no attribution as to who wrote the text, though it could also have been Walker.  Ameriprise Financial was one of the sponsors of the show, along with the HRK Foundation and the KHR McNeely Family Fund. This show continues until December 29, 2024.

The Weisman has other art, including left-wing works by the WPA, several pictures by modernist Marsden Hartley, the weird sound-hotel installation and some by other African-American artists.  An outstanding series is one of paintings of missing parents, children, wives and husbands sold into slavery, based on ads in St. Paul’s “The Appeal’ looking for them after the end of the Civil War.  The Weisman is free and open Wednesday-Sunday.  Its flying silver exterior was designed by Frank Ghery and it’s on the East Bank of the Mississippi River on Washington Avenue. 

Prior blogspot reviews, use blog search box, upper left, to investigate our 17 year archive, using these terms:  “Civil War,” “Art Museum,” “Sherman.”

The Cultural Marxist / October 10, 2024