Identity has become very prominent in American culture in recent years. What one looks like; where one comes from; and how one talks, are the superficial indices that many use to peg one into one group or another. However, what many do not take into account is that identity is not something that comes so easily to everyone. (Reed, Thomas V. 2009). The media has idealized that to be “American” one must hold a specific set of ideals that form their identity. Identity is defined as the qualities, behaviors, and characteristics which classify an individual as a member of a certain group. Factors and conditions which define one’s identity can be one’s ethnic heritage, race, religion, language, or culture. These factors distinguish people from other groups and shape their understanding of who they are.
Something that is never touched upon throughout art exhibitions is how hard it is for someone to struggle with identity as a minority group living in the United States. (Spencer, M. 1990). How strange it must be to battle with the red, white, and blue that one views every day and then coming home to see other colors that one identifies with. (Black, H. 2016). Identity is a subject that should be widely discussed and displayed as it is something that many battle to find throughout the entirety of their lives. The following artworks all delve into the theme of identity, either as an individual or as a group. These pieces collective embody the idea of struggle with identity in American society, trying to find one’s identity in the eye of a needle.
The first art piece in this exhibition is Attributed to Raphaelle Peale, Moses Williams, Cutter of Profiles. This piece relates to the exhibition as it brings forth the type of identity that Moses Williams, a slave, obtained during this time. While works of art by other Peale family members have been discussed in detail over the last two centuries, this silhouette of Williams was ‘rediscovered’ less than five years ago by the Library C Philadelphia, although it had been in their collection since the 1850s. When the curators attributed this image to Raphaelle Peale, although it does not bear his signature or embossment, they participated in the two hundred years of scholarly obfuscation of Williams’s artistic contribution to American art history, by denying the possibility that it might be a self-portrait. (Gwendolyn DuBois S. 2005).
It is interesting to see how the views of those who analyze art are skewed to focus on a certain group of people. Slaves, during this time period were not allowed to read or write. The identity of a slave during this time period is looked over in favor of emphasis towards the freedom of slavery. However, the conflicting identity of a slave is rarely touched upon. How might a slave feel, stripped away from their country and placed seas away. The identity of slave is so narrowly reflected in exhibitions and eye of this identity should be increased to that of a needle.
The next piece is Titus Kaphar, Billy Lee: Portrait in Tar. This piece depicts Billy Lee who was the slave of George Washington. This piece bring attention to the grand representation of America’s founding fathers and how other wealthy, white historical figures have impacted the nation’s conception of history. Kaphar brought for the issue discussing how if the major stumbling block of American history is the negation of the agency of anyone but white men, it is then no surprise that museums, art history courses, and one’s collective consciousness includes few women and people of color, despite their numerous contributions. (Elizabeth A. 2012). This piece focuses on the type of identity that a slave obtained during this era.
The artist purposefully covered the face of Billy Lee to emphasize how these figures do not have a place in American history. The identity of these individuals is chosen to be untold. It is important for individuals to learn about the figures who are cast in the shadows. American history caters to the history of the victors, not to those who lost the battle. It is important for the public to view the identity of these individuals’ in exhibitions around the world.
The following piece is Thomas Torlino, Navajoe. This is a student file of Tom Torlino, a member of the Navajo Nation, who entered the school on October 21, 1882 and departed on August 28, 1886. The file contains a student information card listing two outings in Pennsylvania, two ‘before and after’ photographs taken by the school, and a report after leaving indicating that Torlino was living in Tohatchi, New Mexico in 1910. Taken by official school photographers, these propagandistic images were produced to emphasize the “civilizing” benefits of the boarding school system. (Robert A. 1994).
These photographs not only illustrate how American history has chosen to briefly mention the “civilizing” efforts of American’s, but also the struggle of being forced to adapt a new culture. These Native Americans were forced to leave their culture behind, in a way were forced to change what their identity once was in order to be something else. It is not only important for the viewers to understand the history of Native Americans that is so rarely talked about in American history, but also understand the struggle of figuring out what type of identity one now must perceive.
The next piece is by Jacob Lawrence, 18, The migration gained in momentum. This painting is part of a set of thirty paintings constitute half of the sixty-panel Migration Series. Lawrence took as his subject the exodus of African Americans from the rural South to Northern cities during and after World War I, when industry’s demand for workers attracted them in vast numbers. (Elizabeth A. 2012). The Great Migration began to gain attention during the 1940’s due to a surge of jobs in manufacturing arms and munitions industries. It is important for the public to understand the mind of an African American during the Great Migration. During this era, the identity that is rarely portrayed is of African Americans adapting to change after the fall of slavery. Many generations of slavery are delved into the identities of many African Americans today, and it is important to monumentalize such identities.
Continuing, the following piece is Mario Torero, assisted by Rocky, El Líon, and Zade Congreso de Artistas Chicanos de Aztlan (CACA), We Are Not a Miniority. The Congreso de Artistas Chicanos de Aztlan (CACA) a collective of artists from San Diego headed by Mario Torero were part of the Estrada courts murals project (Latorre). Their contribution was We Are Not a Minority. This mural conveys a message to outsiders that community would not be label as the minority when they represent the majority of people. (Spencer, M. 1990). The community through this mural is able to engage in activism sending a message to those who have act as the processors.
It is important for minority groups to know that they are of no less value or importance than those who are in the “majority”. It is important for the public to understand the struggle of those who are not sure of their identity as part of a minority group. It is often difficult to combat the views that the country may portray against the views that a community may feel. It is important to recognize such a struggle that continues to occur in modern day society.
The final painting in this exhibition is Diary: December 12, 1941, 1980, Roger Shimomura. This painting actually refers specifically to an experience of his grandmother’s, the date relates to the day that Pearl Harbor was bombed. During this time period the American Government froze the bank accounts of Japanese Americans and Japanese citizens living in the United States. (Superman, World War II, and Japanese-American Experience). A few days later on December 12th which is when this diary takes place is when President Roosevelt orders that Japanese Americans can only withdraw up to $100 a month from their accounts.
In Diary, December 12, 1941, Shimomura has painted the silhouette of the comic book character, Superman, on the Japanese screen behind the seated figure of his grandmother. (Roger Shimomura Papers, 1965-1990). It is important for the public to bring light to such tragedies in American history. Shimomura interpreted Superman differently, equating him with federal government power. The federal government whom Japanese-Americans trusted yet which imprisoned them. These people struggled greatly to find their identity after being subjected to such atrocities by the American government. It is vital for exhibitions to bring light to the artists who struggle representing who they are after being resented by the country they are citizens of.
This exhibition will be depicted in a way that an audience is able to educate themselves on the views that are normally not represented in art exhibitions. The paintings will be displayed in the gallery along the walls on panels. The panels will contain information in relation to what the piece conveys and why it was made. There will be a panel under the painting which will describe the artist and their life. Each panting will have dramatic lighting to emphasize the point that these pieces are the center of attention. Along the floor there will be a path where viewers are able to follow the pieces chronologically and reflect on the events that they learned in school or throughout American history. The path will include images and projections of videos as the viewer follows the path. As one passes through each panel there will be music in relation to each era to immerse the public to the time period.
It is important that the public feel as though they are immersed in a certain time period, to feel one with the identity that these groups are battling to obtain. (ShiPu W. 2008). This exhibit is not only a collective embodiment of art pieces representing minority groups. However, representing the identity of those who are normally not chosen to be represented in a society where everything is chosen by victors. How is the identity of such groups supposed to improve throughout time when Americans are not aware of such art due to what is hindered from them due to the history of the United States.
