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	<title>racism &#8211; Baltimore Magazine</title>
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	<description>The Best of Baltimore Since 1907</description>
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	<title>racism &#8211; Baltimore Magazine</title>
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		<title>Danielle Evans Discusses Her Acclaimed Collection of Smart, Unpredictable Tales</title>
		<link>https://www.baltimoremagazine.com/section/artsentertainment/danielle-evans-author-discusses-acclaimed-collection-office-of-historical-corrections/</link>
		
		<dc:creator><![CDATA[Lauren Cohen]]></dc:creator>
		<pubDate>Wed, 17 Feb 2021 17:21:15 +0000</pubDate>
				<category><![CDATA[Arts & Culture]]></category>
		<category><![CDATA[book review]]></category>
		<category><![CDATA[Danielle Evans]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[The Office of Historical Corrections]]></category>
		<guid isPermaLink="false">https://www.baltimoremagazine.com/?post_type=article&#038;p=104110</guid>

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			<p>Danielle Evans was born in 1983 in Alexandria, Virginia, which means she is old enough to appreciate what the integration of the federal government—and the middle-class jobs that came with it—meant for Black families.</p>
<p>It also means the Johns Hopkins Writing Seminars instructor is young enough to appreciate the surreal nature of a highway named after Jefferson Davis mere miles from the nation’s capital. Evans lived in several states growing up as she pursued her academic, teaching, and writing careers—all of which informs the short stories in her acclaimed recent collection, <em>The Office of Historical Corrections</em>.</p>
<p>These smart, intimate, unpredictable tales of mostly young Black women seem at once ahead of their time, as if looking back on current moment of racial reckoning, yet plausible enough that they could be headlines in tomorrow’s newspapers. The book’s informed, exquisite writing, however, demands to be read today.</p>
<p><strong>We’re curious where your story ideas come from. A federal agency named The Office of Historical Corrections, which is both the title of the last story and the book, feels like it could almost exist.</strong><br />
Often for me, something goes from random idea to story when I can find a connection between two things that don’t feel connected. Strange things happen in the world all the time, so part of being a writer is just being observant. In the beforetime [pre-COVID], I took a lot of public transit, and I got a lot of my strange ideas—<em>what just happened?</em>—on public transit. The original spark for the novella came years ago when I was on the Metro in D.C. I was overhearing people having a wildly wrong conversation about a historical event.</p>
<p><strong>The ramifications of history, both personal and political, inevitably impact the characters.</strong><br />
Often the story for me is in these strange intersections. The long-term questions I’ve been asking myself are about history, about responsibility, about agency, privilege, and fundamentally how privilege operates. I do think part of the project of this book for me, I realized about halfway through, is how a narrative changes if you just choose differently who the protagonist is. That’s true in a sometimes very personal way. It’s also true in the story we tell about the country or the story of history. If white Americans are the protagonists of the American story, then yeah, maybe we have hundreds of years of building better white Americans.</p>
<p><strong>Other stories are very timely, especially “Boys Go to Jupiter,” which is about youthful transgressions, unintended and otherwise, racism, social media, and grief.</strong><br />
So I’ve been writing about the strangeness of diverse or multicultural spaces that are invested in this iconography for a really long time. In fact, originally, I thought that story was going to be a novel, based on a controversy that happened at a college in the 1990s that brought about a huge public debate. But I think part of what makes that story feel topical is social media. I am interested in social media and interested in social media as a story question because so much [today] is about who we understand ourselves to be and the difference between our public lives and private lives.</p>

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<p><a href="https://www.baltimoremagazine.com/section/artsentertainment/danielle-evans-author-discusses-acclaimed-collection-office-of-historical-corrections/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>The Two Pandemics</title>
		<link>https://www.baltimoremagazine.com/section/covid19/hopkins-director-lisa-cooper-connects-dots-between-racism-covid-19/</link>
		
		<dc:creator><![CDATA[Lauren Cohen]]></dc:creator>
		<pubDate>Tue, 11 Aug 2020 12:04:11 +0000</pubDate>
				<category><![CDATA[COVID-19]]></category>
		<category><![CDATA[Health & Wellness]]></category>
		<category><![CDATA[News & Community]]></category>
		<category><![CDATA[Black Lives Matter]]></category>
		<category><![CDATA[Coronavirus]]></category>
		<category><![CDATA[Dr. Lisa Cooper]]></category>
		<category><![CDATA[Johns Hopkins’ Urban Health Institute]]></category>
		<category><![CDATA[pandemic]]></category>
		<category><![CDATA[racial equity]]></category>
		<category><![CDATA[racism]]></category>
		<guid isPermaLink="false">https://www.baltimoremagazine.com/?post_type=article&#038;p=81201</guid>

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			<p>Dr. Lisa Cooper wants to make it clear that racism is a public health crisis. The director of Johns Hopkins’ Urban Health Institute and its Center for Health Equity, which both work to document and overcome systemic health disparities, explains that the COVID-19 pandemic and protests surrounding the death of George Floyd are actually related.</p>
<p>“It’s interesting that this epidemic of police brutality against African-American communities is colliding with this health epidemic,” she says. “A lot of people didn’t realize that police brutality is not only a terrible social problem, but it leads to all kinds of other problems.”</p>
<p>Problems like mental health issues, drug addiction, and chronic disease, says Cooper, which begin at a young age.</p>
<p>“It starts with African-American children and the ways that they experience racism in school, that they don’t have opportunities to obtain gainful employment, that they get targeted by law enforcement early in life, which impairs their ability to lead more productive lives,” she says. All of which makes them more likely to get sick.</p>
<p>At this point, it’s well known that both Black and Hispanic people are five times more likely to get COVID-19 than whites, which Cooper largely attributes to systemic racism, with many communities of color lacking necessary social protections, like fresh food access, spacious housing, or paid sick leave.</p>
<p>“And then to top it all off, they have poorer access to healthcare or, in many cases, no health insurance,” she says.</p>
<p>Cooper believes the light being shined on these two crises will ultimately help further her organizations’ missions.</p>
<p>“People are starting to see&#8230;it’s all related,” she says. “When you don’t take care of the most vulnerable in your society, you put everyone else at risk.”</p>

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<p><a href="https://www.baltimoremagazine.com/section/covid19/hopkins-director-lisa-cooper-connects-dots-between-racism-covid-19/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>Deyane Moses’ Blackives Revises MICA’s Racist History</title>
		<link>https://www.baltimoremagazine.com/section/artsentertainment/deyane-moses-blackives-revises-mica-racist-history/</link>
		
		<dc:creator><![CDATA[Angela N. Carroll]]></dc:creator>
		<pubDate>Mon, 11 Mar 2019 13:00:00 +0000</pubDate>
				<category><![CDATA[Arts & Culture]]></category>
		<category><![CDATA[Education & Family]]></category>
		<category><![CDATA[Blackives]]></category>
		<category><![CDATA[Deyane Moses]]></category>
		<category><![CDATA[MICA]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[Sammy Hoi]]></category>
		<guid isPermaLink="false">https://www.baltimoremagazine.com/?p=25357</guid>

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			<p>In 1891, Harry T. Pratt became the first African-American student granted admission to attend <a href="https://www.mica.edu/" target="_blank" rel="noreferrer noopener">Maryland Institute College of Art</a>. More than 100 years later, MICA still struggles to equitably reflect the demographics of Baltimore City. <em><a href="https://www.mica.edu/events-exhibitions/current-upcoming-exhibitions/details/exhibition-blackives/" target="_blank" rel="noreferrer noopener">Blackives</a></em>, an exhibition and <a href="https://www.miba.online/" target="_blank" rel="noreferrer noopener">online database</a> curated by senior photography student Deyane Moses archives the portraits and oral histories of black MICA students and alumni.</p>
<p>When Moses’ review of the school’s nearly 300-page autobiography yielded only one page of information about non-white students, Moses decided to create her own archival project. Armed with her camera and a desire to erect a new monument for underrepresented populations, Moses ventured to photograph every black student she saw on campus. Those random and serendipitous encounters rendered a portfolio of beautifully earnest portraits, candid moments that document students who often feel invisible. The gesture offers a vulnerable bridge to connect with others who may feel a kindred kind of isolation. To be a person of color attending a predominately white institution of higher education can be a solitary experience. </p>
<p><em>Blackives </em>is a living history developed to affirm black students and instigate shifts in MICA’s established diversity and inclusion policies and practices. The popularity of the exhibition triggered a lengthy response from the school’s president, Samuel Hoi. In the memo, President Hoi acknowledged the segregationist history at MICA and vowed to “strive forward to fulfill its diversity, equity, inclusion, and globalization (DEIG) goals.” As a result, the exhibition was extended through March and reinstalled in the atrium of the school’s Main Building. </p>
<p>Shortly before the opening of <em>Blackives</em>, Moses and other black MICA students staged an intervention to memorialize Robert H. Clark, one of the first African-American students denied admittance because of his race. The intervention, <em>Take Back the Steps,</em> successfully blocked the entrance to the building for 63 minutes, one minute for every year black students were denied enrollment to attend. At the event, Moses issued a statement that contextualized a history of omission that few in the MICA community knew about. </p>
<p>We spoke with Moses and Clyde Johnson, associate dean at the <a href="https://www.mica.edu/offices-divisions/center-for-identity-inclusion/" target="_blank" rel="noreferrer noopener">Center for Identity &amp; Inclusion</a> about the exhibition, the community’s response, and their hopes for increased diversity on campus.</p>

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			<p><strong><em>Blackives</em> is an exhibition, but it is also an online database?</strong></p>
<p><strong>Deyane Moses</strong>: Yes. Maryland Institute Black Archives is the database which houses all the articles I found online, but I’m also collecting oral histories from the students who are currently here. The articles that I found from back in the day, the ways that they described black people, our voices were lost. <em><a href="https://www.afro.com/" target="_blank" rel="noreferrer noopener">The Afro</a></em> supplemented for some of those voices, but they were around in the 1890s. So it was important to retrieve those voices now and to also speak to alumni and faculty. That’s how the project is moving forward, by looking at the past present and moving forward into the future. Many students at MICA don’t feel like they have support and mentorship.</p>
<p><strong>What has the response been from black students and alumni about their experiences at MICA?</strong></p>
<p><strong>DM</strong>: They feel like they are not supported, especially when it comes to critiques. Classes are not that diverse. A lot of times I am the only black student in my photography classes. For the first time in my senior year, there are three other senior photography students in the same class with me. We talked about that. I also went to the black student union and talked to them about the low retention rate of black students at MICA. The show has been well received and everyone wants MICA to do more for black students and to support them.</p>
<p><strong>Why now is the school and President Hoi speaking up about this issue and how will it effect the school’s approach to increase the diversity of its faculty and student body?</strong></p>
<p><strong>Clyde Johnson</strong>: We have just ended a nearly three-year president’s task force on diversity, equity, inclusion, and globalization. It entailed auditors looking over policies and programs regarding students of color, our LGBTQIA communities, and every aspect of diversity. We just did that and we’ve created a hopefully powerful document that should now be in implementation phase. These are new policies, new hiring guidelines. We have heard students say that the school does not have enough faculty members of color. So we have hired trainers to learn about implicit bias in the hiring process. I think we are working in tandem with this conversation. What Deyanne’s exhibition has done is reminded us that the work we are doing is urgent. Here’s the history, let’s do the work.</p>
<p><strong>I love that the exhibition looks like a living room and the wall of student portraits feel like members of your family.</strong></p>
<p><strong>DM</strong>: The majority of the portraits are of undergrad and graduates and my mentor, Colette Veasey-Cullors. They are my family. Everyone was really supportive. If they had a second, they let me take their portrait. I just asked that they focus and look at me so that, when others saw the wall, there would be a strong presence—they would know that we are here. The wallpaper is inspired by the 1890s, when the first black graduate, Harry T. Pratt, started. I wanted the feeling of home but also an awareness that you were in a museum.</p>
<p><strong>You received some criticism from some students and staff about covering the statues in the Main Building with black curtains.</strong></p>
<p><strong>DM</strong>: I love this building, but I always noticed the white sculptures. Black people are not in those histories. I asked that they be covered, out of respect for black history as important by itself, outside of those histories. Some people are really upset about it.</p>
<p><strong>What are your hopes for the exhibition?</strong></p>
<p><strong>DM</strong>: I would like it to be a permanent fixture somewhere in MICA and for the database to continue. I hope this is the beginning of other colleges admitting their histories so they can make change there, as well.</p>

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<p><a href="https://www.baltimoremagazine.com/section/artsentertainment/deyane-moses-blackives-revises-mica-racist-history/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>Vested Interest</title>
		<link>https://www.baltimoremagazine.com/section/historypolitics/deray-mckesson-civil-rights-activist-baltimore-leader/</link>
		
		<dc:creator><![CDATA[Ron Cassie]]></dc:creator>
		<pubDate>Tue, 15 Jan 2019 08:30:00 +0000</pubDate>
				<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[News & Community]]></category>
		<category><![CDATA[activism]]></category>
		<category><![CDATA[Black Lives Matter]]></category>
		<category><![CDATA[Deray Mckesson]]></category>
		<category><![CDATA[Ferguson]]></category>
		<category><![CDATA[Freddie Gray]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[Teach for America]]></category>
		<guid isPermaLink="false">http://server2.local/BIT-SPRING/baltimoremagazine.com/html/?post_type=article&#038;p=541</guid>

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			<p>DeRay Mckesson is tired. He tweeted he’d been “cursed to sit next to the drunk man” flying back from the West Coast as he wrapped up a five-week, 22-stop, cross-country book tour. Arriving at Ida B’s Table for a morning interview and photo shoot, the 33-year-old activist is punctual and polite, but his distinctive, high-pitched voice is softer than usual. Nonetheless, he&#8217;s ready to discuss his role in the Black Lives Matter movement and his recent call-to-action memoir, <em>On the Other Side of Freedom: The Case for Hope</em>. Brief recap: Mckesson garnered national attention live-tweeting the Ferguson, Missouri, marches following the killing of Michael Brown Jr. by a white police officer, and he checked in at No. 11 (along with fellow protestor Johnetta Elzie) on<em> Fortune’</em>s list of the “World’s Greatest Leaders” in 2015. </p>
<p>Jet-lagged or not, Mckesson cogently breaks down the structural racism that plagues cities such as Ferguson and Baltimore, as well as the foundational ideas that built and sustained that inequality. That preternatural ability to communicate—with composure and conciseness—is how the Baltimore native became an overnight cable news go-to.</p>
<p>“When we think about white privilege, it is the recognition that people benefit from things that they personally did not work for,” he begins, addressing a subject covered on his book tours. “When we think about white supremacy, it is the idea that white is better, that white is the norm, is the standard, that it is more worthy. And then, we think about ‘whiteness,’ and it is the culture that idea births.”</p>
<p>On the road, Mckesson was interviewed by the likes of MC Hammer, former Obama speechwriter Jon Favreau, and <em>The Daily Show’</em>s Trevor Noah. He has a million-plus followers on Twitter, has hosted celebrities from John Legend to Katy Perry on his weekly show, <em>Pod Save the People</em>, and he gets invited to parties by Beyoncé. But here’s the weird thing: While Mckesson was born here and lives here, he draws only a small crowd to his book signing later tonight at Baltimore Soundstage.</p>
<p> “I don’t mean this in a good or bad way, I just don’t come across him,” says Sean Yoes, Baltimore <em>AFRO</em> editor and author of <em>Baltimore After Freddie Gray: Real Stories from One of America’s Great Imperiled Cities</em>. He may be a national civil rights figure, but Mckesson is not a conspicuous presence in Baltimore two years after his bid for the city’s highest office. “Maybe I’m just in my own lane—I hadn’t thought about him in months, at least,” Yoes continues. “He’s kind of in a no-man’s land here.” </p>
<p><strong>The protests in Ferguson</strong> after Michael Brown’s death began a little more than four years ago, but it is easy to forget the timeline, the details, and the next 400 days of activism that helped set the stage for the uprising in Baltimore following the death of Freddie Gray. Several days after officer Darren Wilson’s shooting of Brown in August 2014, Mckesson, then a 29-year-old Minneapolis public school administrator, headed to Missouri to see the unfolding situation for himself. He live-tweeted his mundane drive to his then-modest 800 followers while also seeking a sofa to sleep on once he reached Ferguson. The second night he was there, police tear-gassed demonstrators. “That was the moment I became a protestor,” he says.</p>
<p>In collaboration with Elzie and Brittany Packnett, both St. Louis-area natives, Mckesson took to social media to document the confrontations with the Ferguson police department’s militarized response. They also used their online platforms to launch the <em>Ferguson Protestor Newsletter,</em> which became both a resource for—and an alternative to—the establishment media, which they saw misrepresenting the protests as violent.</p>
<p>Identifiable in his ubiquitous royal blue Patagonia vest, which he basically has not taken it off since, Mckesson became the most recognizable face of the Black Lives Matter movement. In fact, the vest remains so intertwined with his political brand that it has its own Twitter handle.</p>
<p>After Ferguson, Mckesson joined similar protests in Baton Rouge, Louisiana, following the death of Alton Sterling; New York following the death of Eric Garner; North Charleston, South Carolina, following the shooting of Walter Scott; and Baltimore following the death of Freddie Gray. (In one memorable interview here, he repeatedly pushed back against CNN’s Wolf Blitzer, who tried to get a patient Mckesson to condemn the behavior of protestors. “You are suggesting this idea that broken windows are worse than broken spines,” Mckesson responded.) Since then, along with Packnett and policy analyst and data scientist Samuel Sinyangwe, Mckesson helped create the police reform initiative Campaign Zero and its associated website, mappingpoliceviolence.org, which tracks the people killed by police in the U.S. “The numbers are flat, not down at all,” he notes, with a mixture of frustration and disbelief.</p>
<p>As he chronicles in some of the best chapters of his book, Mckesson was born in West Baltimore, later moving with his father, a recovering drug addict, and his sister to Catonsville. It was in Catonsville, he says, that he first became aware of poverty and the inequity in education.</p>
<p>After college at Bowdoin in Maine, he taught in New York City through Teach for America before returning to Baltimore for three years to work for a nonprofit after-school educational initiative and the city school system. He then spent 16 months in Minneapolis as senior director of human capital for their school system before leaving for Ferguson. He has received death threats and has been sued by police officers. In turn, he has sued Fox News and commentator Jeanine Pirro for alleging he incited violence. Along the way, the Obama White House invited him to a policy discussion, and he joined the speaking roster at Creative Artists Agency, whose clients include Joe Biden and Will Smith. Oh, and he gave commencement speeches at The New School and the Maryland Institute College of Art. In other words, it has been a roller coaster.</p>
<h3>“You are suggesting this idea that broken windows are worse than broken spines.”</h3>
<p><strong>As the threats</strong> <strong>and lawsuits attest</strong>, Mckesson has also become a lightning rod. Much of the fire directed his way derives from mere hate from the other side. But there has been—and remains—resentment and criticism among those who normally would be considered allies. Broadly, the accusation is that he raced in front of cameras and put himself forward as a spokesman for a movement he did not begin.</p>
<p>Kaysonya Wise Whitehead, a Loyola University professor who teaches a course on the Black Lives Matter movement and hosts a current events program on WEAA, is not a Mckesson fan. “Black Lives Matter is a social movement, a civil rights movement, and it’s a slogan—it is something to stick on the bumper of car,” Whitehead says. “It’s all those things. But the people who created the hashtag and pushed it forward have been scrambling to get in front of it ever since. The fact that the white media rallies around someone does not make him or her a leader. Has DeRay been a leader on these issues locally? No, it’s The Algebra Project, Leaders of a Beautiful Struggle, Baltimore Bloc, Pleasant Hope Baptist Church, among many others, that’s been doing the work.”</p>
<p>Mckesson&#8217;s last-minute entry into the Baltimore mayoral race in 2016—an announcement made in coordination with <em>The Washington Post, The New York Times</em>, and <em>The Guardian</em>—gave detractors additional fuel.</p>
<p>“It’s one thing to be able to show up to an event in a major mainstream media moment,” Dayvon Love, public policy director for Leaders of a Beautiful Struggle, told <em>Slate</em> after Mckesson’s announcement. “It’s a different thing to get people from Baltimore to go to Annapolis for a hearing on police reform on a Tuesday at 1 in the afternoon.”</p>
<p>“It was opportunistic,” Anthony McCarthy, a former spokesman for the past three Baltimore mayors, says of Mckesson&#8217;s bid. “There was already one of the strongest fields in a long time.” That said, Mckesson did receive support from Morgan State professor Lawrence Brown, who is at work on a book about Baltimore’s history of segregation and housing discrimination. “What have those other establishment candidates accomplished?” Brown argues, suggesting an outsider is needed to bring real change to City Hall.</p>
<p>Mckesson, who received 2 percent of the vote, takes exception to the criticism. He highlights the year he spent opening and overseeing a West Baltimore after-school center with the nonprofit Higher Achievement and leadership roles when he was a Catonsville High School student with the city’s Safe &amp; Sound Campaign and the grant-making nonprofit Youth As Resources. “For all this talk about ‘ending the gatekeepers,’ there are places where people’s identity is rooted in deciding who is and who isn’t able to do [activism] work, and Baltimore is one of those places,” he says.</p>
<p>This past election season, he stirred more controversy by endorsing fellow Teach for America alum J.D. Merrill, son-in-law to former Mayor Martin O’Malley, over longtime Baltimore civil rights leader Jill Carter for a seat in the state Senate (Carter won). Meanwhile, Mckesson says he doesn&#8217;t know if he&#8217;ll run for office again or how long he&#8217;ll stay in Baltimore. Current plans revolve around his national podcast and Campaign Zero, which he says will be publishing new data soon about police complaints and police union contracts.</p>
<p>Erin Hodge-Williams, former executive director of the nonprofit Higher Achievement, has known Mckesson since he was a teenage youth organizer. “He pours himself into everything he does,” Hodge-Williams says. “The traction he got [after Ferguson] surprised me, but I think the blue vest, for example, is ingenious. Is it branding? Yes,” she continues. “But I think it’s brilliant. Trump is on Twitter all the time stirring up nonsense. DeRay strategizes how to make his voice heard, too, but that’s because he wants to talk about policing and prison reform and social justice. He stays true to his message, and that makes all the difference in the world.”</p>
<p>Whether it makes a difference in Baltimore may be another matter.</p>
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		<title>Antero Pietila Discusses The Ghosts of Johns Hopkins</title>
		<link>https://www.baltimoremagazine.com/section/artsentertainment/antero-pietila-discusses-the-ghosts-of-johns-hopkins/</link>
		
		<dc:creator><![CDATA[Jess Mayhugh]]></dc:creator>
		<pubDate>Wed, 26 Dec 2018 12:18:00 +0000</pubDate>
				<category><![CDATA[Arts & Culture]]></category>
		<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[Antero Pietila]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[Johns Hopkins]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[The Ghosts of Johns Hopkins]]></category>
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			<p>Longtime <em>Baltimore Sun </em>journalist Antero Pietila—who has also covered politics from South Africa to the Soviet Union—focuses his latest book around the central figure of Johns Hopkins. In <em>The Ghosts of Johns Hopkins: The Life and Legacy that Shaped an American City</em>, Pietila examines the life and legacy of the titular developer, as well as digs deep on the impact his institutions have had on the racial patchwork of Baltimore City. </p>
<p>We talked with Pietila about what inspired the book, writing the first real biography of Johns Hopkins, and whether his institutions are doing enough for modern-day Baltimore.</p>
<p><strong>This begins as a prequel to your last work, <em>Not in My Neighborhood: How Bigotry Shaped a Great American City</em>. Then it becomes a companion</strong>.<br />We are at a very peculiar intersection of history in Baltimore. The names William Donald Schaefer and James Rouse mean less and less. Fewer people remember these individuals who had made a profound impact. These books are sort of designed as introductory assignments for those new to Baltimore. Like David Simon’s <em>The Wire</em>.</p>
<p><strong>No credible biography of Hopkins exists, correct?<br /></strong>He destroyed his papers. Nobody knows why. He was very private in his personal matters and at the same time, had powerful friends, including Arunah Abell, the founder of <em>The Sun</em>. Yes, there were stories about Johns Hopkins in the paper, but nothing personally revealing.</p>
<p><strong>Hopkins grew up on an Anne Arundel plantation and died in 1873. How did he view African-Americans?<br /></strong>He was a Union party member and believed in Lincoln and Reconstruction. But he did not believe in equality by today’s standards. The hospital had a humanitarian mission [to serve black patients], but at the same time, he never expected the University to have black students.</p>
<p><strong>Hopkins was the one of the wealthiest people in the U.S. when he died, and the largest individual B&amp;O Railroad shareholder. How did he make his money?<br /></strong>He started as a dry goods merchant, catering to the needs of Conestoga wagons traveling to the Shenandoah Valley and west to Ohio. He sold whiskey, “Hopkins’ Best,” and was involved in banking, shipping. There wasn’t an enterprise he wasn’t involved in.</p>
<p><strong>During your research, did Hopkins remind you of anyone today?<br /></strong>I never thought of a comparison to someone. But thinking of it now, he was the principal investor in the B&amp;O Railroad, which represented the Silicon Valley of its time.</p>
<p><strong>Hopkins had no children and never married. When did he get interested in philanthropy?<br /></strong>Most likely through George Peabody, who was a close friend. He was also in contact with Enoch Pratt. The turning point seems to be after a brush with death at 37 when he contacted cholera. </p>
<p><strong>What set the course for excellence at the university, medical school, and hospital that bear his name?<br /></strong>The university was modeled after the elite German institutions, and started with very few undergraduate students. It was primarily a graduate university and research institution. Similarly, the hospital was unique in that it began as research hospital.</p>
<p><strong>The “ghosts” of Johns Hopkins refers not so much to various controversies around the University or medical school, for example, the syphilis and lead paint studies, but city’s development, in particular, around the hospital.<br /></strong><em>Not in My Neighborhood</em> documented the ethnic rotations in West Baltimore, but nobody had outlined what happened in East Baltimore where there had been a strong Czech and Bohemian presence. In Old Town, the ethnic rotations included Germans, Irish, and then German Jews and Russian Jews. I don’t avoid the controversies. </p>
<p><strong>You emigrated from Finland and started as a<em> Sun</em> reporter in 1969. What was your impression of the city?<br /></strong>I thought it was interesting, an ancient-looking city with its rowhouses and an atmosphere that was different than the parts of modern Europe, which I had visited. The extent of the segregation surprised me. I came to Baltimore one year after the riot. Not only was the mood of the city terrible, there were a helluva lot of questions about its future. The situation is tricky today. </p>
<p><strong>And currently?<br /></strong>The mood is again not very good with the level of violent crime, but there are cranes and buildings going up everywhere by the waterfront. It makes you wonder if we are in the middle of a housing bubble. </p>
<p><strong>But you see Hopkins Hospital as a bridge, potentially, spurring redevelopment on the east side from the harbor all the way to its campus.</strong> <br />The Hopkins campus never really brought to fruition the kind of renewal that we were told it would. But I see a lot of promise, particularly in the Broadway corridor. I think there is some kind of possibility for renewal that might connect to Preston Street and Greenmount Avenue. Hopkins has long had a strange, or perhaps stained, is a better word, relationship with the city. Given that this world-class university and medical school and hospital brand that sits in the midst of city with tremendous challenges. It is strange, and strained as well. </p>
<p>There is always the question is Hopkins doing enough for Baltimore? Today, there is the question whether it should have its own police force to set up a perimeter around its campuses. Something like 40 percent of the real estate buildings in the city don’t pay taxes because they belong to nonprofits and are exempt. Eventually that is going to become an issue as well, I imagine.</p>

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		<title>White Lies</title>
		<link>https://www.baltimoremagazine.com/section/historypolitics/how-i-was-nearly-recruited-by-a-campus-extremist-towson-university/</link>
		
		<dc:creator><![CDATA[Jess Mayhugh]]></dc:creator>
		<pubDate>Tue, 04 Sep 2018 08:30:00 +0000</pubDate>
				<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[Towson University]]></category>
		<category><![CDATA[white nationalist]]></category>
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			<p><strong>“W</strong><strong>hy don’t you sit with us?”</strong> asked an unassuming stranger. “We have an extra seat at our table.” I was alone and grateful for the invitation. It was 2011 and I had been nervously looking for a seat in one of Towson University’s largest dining halls, where it seemed like everyone from freshman orientation had made friends and was sitting accordingly. My embarrassment and anxiety compounded as I passed row after row of already-full tables ringing with chatter and laughter. Now I had a seat of my own, and maybe a potential friend.</p>
<p>Across the table, the stranger, a cherubic upperclassman with a black bushy beard and glasses, sat with his smiling girlfriend. They asked what brought me to Maryland from New Jersey, how I liked campus so far, what my plans were for the next four years, taking genuine interest in me as we ate. When I explained that I was moving in with my dad and stepmom, who were both Towson political science professors, they listened attentively.</p>
<p>What I didn’t share were my experiences from four months prior—my mental breakdown, my extended stays in various mental hospitals, my bipolar diagnosis. I omitted that I was taking high doses of strong anti-anxiety medications, and that they weren’t working. I left out that earlier that year, when speaking to my parents, I heard the devil’s voice. I didn’t think it was necessary to mention that they had serious reservations about my ability to function in college, or that I probably had only passed my last high-school classes because my teachers were sympathetic. I wanted to leave my past behind. I was ready to reinvent myself.</p>
<p>Feeling like I was off to a good start, lunch with this couple was the highlight of my day. I felt at ease seeing his wide grin when I described my hobbies—basketball, reading, writing—and I enjoyed talking to his girlfriend, who was warm and welcoming. They seemed like healthy, happy people, and I was grateful to be included.</p>
<p>Halfway through lunch, we transitioned from small talk to him telling me about a club that he wanted to start a chapter of on campus: Youth for Western Civilization. “We need to defend American ideals,” he said. “They’re in danger.” He explained how foreigners were taking over the U.S. economy and that they posed a threat to national security. I then noticed the design on his T-shirt: a flexed arm holding a white hammer, which he enthusiastically stated was going to be the club logo. “Anyway, I need a certain number of signatures to have it legitimized,” he said. “Will you sign and help me get started?”</p>
<p>Something deep in my gut told me that his ideas were misguided, but he seemed like he knew what he was talking about, and I didn’t want him to know that I didn’t. During his pitch, he spoke of the dangers of multiculturalism, a term that I figured one of us must be misunderstanding. Surely it didn’t just mean diversity—he made it sound so dangerous. He seemed nice and spoke with confidence, and I was eager to please. My signature was one of the first for the club.</p>
<p>“Let’s keep in touch,” he said as he shook my hand after lunch. “Add me on Facebook—Matt Heimbach.”</p>
<p><strong>That night, </strong><strong>after dinner</strong>, I went to my room and opened Facebook, which revealed a different side of the friendly upperclassman. His profile page was full of Confederate flags and political rants. His friends included people who seemed odd, violent, or, in some cases, both, with one even posting about urges to kill people and drink their blood. Why was this seemingly nice guy friends with these kinds of people? Against my better judgment—perhaps out of desperation—I added him as a friend anyway.</p>
<p>Almost immediately, Matt started messaging me about “great opportunities.” When conservative commentator Bay Buchanan spoke on campus, I was one of the first to be invited. I was offered seats at different conventions around the U.S. and the opportunity to travel to Europe. Before college, I had barely left my small, rural hometown, and now I had a chance to see the world. It was tempting, so I told my parents. </p>
<h3>“I might have ended up across the Atlantic Ocean with an incipient white nationalist.”<br />
</h3>
<p>“Why does ‘Western Civilization’ need to be defended?” my dad asked incredulously. It was a weeknight, and we were sitting in his office as he took a break from grading papers. “I don’t think you should go. This sounds like a bad idea.”</p>
<p>I insisted, trying to restate my case with 18-year-old logic: “Europe will be good for me, because it’s fun! It’ll be fun, because it’s good for me!” After all, he had encouraged me to branch out and make friends. But he repeatedly shook his head. “You’re not going,” he said. The case was closed.</p>
<p>Looking back, I realize how this sounds: I had just met Matt, yet I was willing to fly halfway around the world with him just for the opportunity to have a friend. It didn’t take long for me to realize that my dad was right, and that I had been ignoring my own uncomfortable feelings about Matt: the aggressive T-shirt, his intense concern for American ideals, his intolerant views. Seven years later, it is now very clear what picture those details paint, but my naïve, medicated mind did not, perhaps could not, recognize that I was floating into dangerous waters. I was desperately lonely, and Matt was proof that I could make friends. I stuck around only to convince myself (and others) that I was normal, like everyone else. Had I not needed my parents’ permission, I might have ended up across the Atlantic Ocean with an incipient white nationalist.</p>
<p><strong>In the past few years, </strong>college campuses have become a hotbed of extremist recruitment, with white supremacist propaganda—flyers, posters, marches, and direct confrontations with students—increasing by 258 percent between 2016 and 2017, according to a recent report by the Anti-Defamation League. “Young college students are perfect targets,” explains Katrina Bell McDonald, associate professor of sociology at Johns Hopkins University. “They’re in intellectually vulnerable states, and they’re in environments in which new ideas and different perspectives are encouraged. When older, articulate people speak, students listen. It takes a critical eye to decipher the ambiguous language they sometimes use. They preach to the desperate. They isolate their targets and indoctrinate them into their ideals.”</p>
<p>The internet has played a major role in breeding racist ideologies, too, with extremist groups using social media such as Facebook, Twitter, YouTube, and Reddit to recruit new radicals. Years before the recent rise of white nationalism, the Islamic State, or ISIS, was the pioneer of internet recruitment, using its websites and platforms to lure young jihadists from across the globe. The pre-internet Ku Klux Klan grew out of personal connections and word of mouth, but post-internet white nationalists are now harnessing the web’s ability to mobilize minds, and it seems some young people take these messages to heart. Then-22-year-old Severna Park native Sean Christopher Urbanski, for example, reportedly had ties to the “Alt-Reich” Facebook group before being accused of fatally stabbing Richard Collins III, a young black man, at a University of Maryland bus stop last summer. The web is also used by recruiters to coordinate rallies and events, like those Matt invited me to, which also further energize fledgling supporters. While Matt and I initially met in person, the rest of our correspondence existed in cyberspace, where he attempted to strengthen our bond.</p>
<p>Experts say several factors play roles in indoctrination—instability, lack of social networks, frustration with socioeconomic status—but even people with educations, solid mental health, and secure financial backgrounds are susceptible to recruitment. During Matt’s attempts, I nearly fit the bill for a model recruit: I was alone, unstable, and lacked confidence—plus I was a young white teenage male. But thanks to conversations with my dad, who eagerly supported my growing sense of unease about Matt, I slowly started to pull away. By the end of the semester, I no longer messaged him, but he would still message me—and as he became more comfortable, his sentiments grew darker.</p>
<p>“I hope you have a gun,” Matt said on Facebook one night that fall. “Especially if race riots break out in Baltimore.” He had been warning me about the dangers of a new Black Panther Party, which, he asserted, was calling for a race war against “whites,” especially if Barack Obama lost the 2012 election. I listened to NPR on the drive to campus with my stepmom each morning, but I hadn’t heard anything like this, and I definitely wasn’t interested in buying a weapon. “They allow you to protect yourself,” he insisted. “And as a constitutional member of the unorganized militia, it is your civic duty to own a firearm and be proficient.”</p>
<p>Firearms? Militia? I felt uncomfortable and politely disagreed until we switched topics. Before signing off, I decided to branch out and make some new friends. I had recently learned about the Fall Involvement Fair, which helps students discover activities and organizations around campus, and Matt’s comments inspired me to attend. His messages had started to scare me.</p>
<p>A few days later, I shuffled into Towson’s West Village Commons. Filling the ballroom were aisles and aisles of tables featuring clubs, sports teams, fraternities, and sororities, all led by seemingly confident and bright-eyed students. Amid the youthful buzz, I felt freshly awkward and isolated. It seemed like everyone already knew each other again, and though no one looked at me, all I could feel were eyes on my blushing face. As my thoughts tripped over each other, I heard a familiar voice call my name.</p>
<p> I turned to my right to see Matt’s eager grin. “Hey man, good to see you,” he started. “I’ve got something I wanted to ask you about.” A group of black and Muslim students had started to surround his table, and he seemed unconcerned by the atmosphere’s growing tension over the ideas listed on his posters. Before Matt could ask his question, an angry student interrupted him. “I’ll message you,” he said with a smile. I continued walking around the fair, feeling defeated and more alone than before.</p>
<p>“Hey dude! You like Frisbee?” shouted an unknown voice before I made my way out the double doors. It was the captain of the school’s Ultimate Frisbee team. And, actually, I did.</p>
<p>Ultimate Frisbee practice started the next week, and I was invited to the tryout tournaments. Finally, I felt like I had some potential real friends. As the team finished its first warm-up lap, one player asked the group, “Did you guys hear about that new racist group on campus?” “Yeah, ‘Youth for Western Civilization’—big ol’ bunch of racists,” another player answered before adding sarcastically, “Anyone wanna join with me?” I blushed as everyone laughed; Matt had been my only friend at Towson, and our friendship was a secret that I needed to keep from my new teammates. My willingness to overlook his myopic views and obvious intolerance felt stupid and shameful. I vowed to never talk to him again, and I stopped responding to his Facebook messages.</p>
<p>The next semester, I received a new message—this time from an Ultimate Frisbee teammate who worked for Towson’s student government. “This is just between you and me . . . assuming that’s what you want,” he started. “I was looking through my [student government] binder . . . and under [Youth for Western Civilization], I found your name. Are you in the group?”</p>
<p>It was the end of my freshman year, and I was by then an official Ultimate player. I had more friends now than I had in high school, and I was the most secure I’d ever felt. I explained that I didn’t realize what the club stood for when I signed Matt’s paper. But in order to remove my name from the list, he told me, I had to ask Matt myself. </p>
<p>It was a daunting task—I had just unfriended him on Facebook and had been ignoring his texts—but something I knew I had to do. Never one for confrontation, I ended up sending an impulsive text. </p>
<p>“Can you take me off your club’s list?” I asked. “Ouch,” he responded. “I guess so.”</p>
<p>That was the last time we ever spoke.</p>
<h3>“I was alone, unstable, and lacked confidence.”</h3>
<p><strong>My sophomore year, </strong>I read about his proposed new club, named the White Student Union, in <em>The Towerlight</em> student newspaper and how its members patrolled campus to “protect the community.” Suddenly “White Pride” chalkings started to appear across school grounds, attributed to Matt and members of his club. Before long, Matt was the talk of not only campus but the country, with the subsequent uproar garnering national attention from outlets such as <em>Vice</em>. My classmates spoke out against his organization; we were frustrated and embarrassed that Towson had become home to such apparent bigotry. I felt this weight especially, as the signature I naively scribbled during my first freshman-year lunch helped launch one of the most controversial student groups in campus history.</p>
<p>Five years later, Matt Heimbach is now considered by some to be the next David Duke—the former grand wizard of the Ku Klux Klan. He resides in Indiana, where he founded the Traditionalist Worker Party, which is listed as a hate group by the Southern Poverty Law Center. In 2016, he pleaded guilty to disorderly conduct after shoving a black woman during a Trump rally in Kentucky. In 2017, he led white nationalist protests over the removal of a Confederate statue in Charlottesville, Virginia, which left one innocent bystander dead. Unafraid of hiding his extremism, he has been photographed at the Holocaust Memorial Museum in Washington, D.C., holding a sign that said: “6 million? More like 271,301.” After a terrorist attack in Belgium, he reportedly tweeted, “Hey Brussels, how’s that multiculturalism working out for you?” Most recently, Matt was arrested on domestic battery charges for a truly bizarre case: He allegedly slept with his wife’s mother and got into a fight with her husband, his stepfather-in-law.</p>
<p>Back at Towson, talk of his White Student Union is long over, and new students often don’t know the would-be club ever existed. Even now, after everything I’ve learned, I sometimes have trouble connecting the grinning, personable Matt I met in the cafeteria with the views that he espouses today. I certainly could not have imagined the upperclassman who invited me to travel Europe being banned from the United Kingdom for his extremist beliefs. All that seemed to matter back then was that he wanted to get to know me.</p>
<p>Since my brush with Matt, I’ve earned a master’s degree in professional writing, started a career in Hunt Valley, and my Frisbee teammates have become lifelong friends. My life has improved tremendously, and today I am far more confident and clear-thinking. Each day, I continue to develop a better idea of who I am and what I stand for—which, it turns out, is the opposite of Matt. I’m reminded of that notion every time his name resurfaces.</p>
<p>Last fall, after he led the Charlottesville protests to keep Confederate statues up, I marched in the streets of Baltimore to have the city take its statues down. This spring, as he was charged with domestic battery, I marched with hundreds of thousands in Washington, D.C., to protest gun violence. If Matt is outspoken about his intolerance, it is my duty to raise my voice for justice and acceptance, using my uncomfortable past to do right in the present and future. Every time he takes a stand, I plan to take my own.</p>
<p><em>This article has been edited for clarity from its original print version in the September 2018 issue</em>.</p>

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		<title>This Is What Activism Looks Like</title>
		<link>https://www.baltimoremagazine.com/section/artsentertainment/fall-arts-this-is-what-activism-looks-like/</link>
		
		<dc:creator><![CDATA[Aaron Hope]]></dc:creator>
		<pubDate>Mon, 23 Oct 2017 08:00:00 +0000</pubDate>
				<category><![CDATA[Arts & Culture]]></category>
		<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[News & Community]]></category>
		<category><![CDATA[Creative Alliance]]></category>
		<category><![CDATA[Fall Arts Guide]]></category>
		<category><![CDATA[FORCE: Upsetting Rape Culture]]></category>
		<category><![CDATA[Freddie Gray]]></category>
		<category><![CDATA[Judah Adashi]]></category>
		<category><![CDATA[MICA]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Paul Rucker]]></category>
		<category><![CDATA[Peabody Institute]]></category>
		<category><![CDATA[photography]]></category>
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		<category><![CDATA[Saida Agostini]]></category>
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		<category><![CDATA[Tanya Garcia]]></category>
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  <span class="clan editors uppers"><p style="font-size:1.25rem;"><strong>By Gabriella Souza</strong> <br/>Photography by David Colwell</p></span>
  
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  <h6 class="thin tealtext uppers text-center">Arts & Culture</h6>
  <h1 class="title">This Is What Activism Looks Like</h1>
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  We take a look at some of the key figures who are shaping both arts and activism in the city.
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  <p class="byline">By Gabriella Souza. Photography by David Colwell.</p>
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  <p  class="intro">
  he marches and protests that brought in the new year were the first indicators that 2017 would be full of political discourse and civil unrest. And, as the arts have always mirrored the world’s events, artistic expression is at a vigorous high. That’s especially true for artists in Baltimore, who have borne witness to the death of Freddie Gray and the city’s accelerating murder rate. To usher in the arts season, we take a look at some of the key figures who are shaping both arts and activism in the city.
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  Shan Wallace chose a block on the edge of two worlds to display her work. To the north of the 400 block of Park Avenue you have what some would deem progress—luxury apartments on the rise and the bustling Mount Vernon Marketplace food hall. To the south, boarded up buildings and smashed windows stand out like busted teeth. “I’m tired of looking at this shit,” the photographer and activist says, eyeing spray paint-tagged boards screwed over a bay window, underneath a sunblasted sign that still reads “Jimmy’s Chinese Food.”  “Why does this have to look like this? So I decided I’d put some art up.”
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  <h5 class="captionVideo thin">Wallace installing her work throughout the city.</h5>
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  Wallace, an East Baltimore native, has made a name for herself internationally by taking photographs that challenge the narrative of what it means to be black. There are depictions of a young father feeding a bottle to his tiny baby and protestors in powerful, open-mouthed stances at a march. It’s large prints of these photos, and others, that Wallace coats with wallpaper glue and affixes to vacant buildings on this spring day, the thud of a staple gun sealing her act of resistance. “I’m not even really supposed to be doing this, but who cares?” she says. “I just want people to embrace the community. And if you feel like you don’t love yourself, or like you hate your skin color, I want you to see my work and know people are standing with you.”
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  Wallace didn’t think twice about her action. It was innate—in her blood, so to speak. And that makes sense, because as an artist in Baltimore, she is following a lineage of artists who have similarly taken stands against social injustice, poverty, and civil inequalities in a city where these struggles are a part of daily life.
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  “We’re a highly challenged city,” says Baltimore artist and native Joyce Scott, one of last year’s recipients of a $625,000 MacArthur Foundation Genius Grant. “Our situation is just thrown in our face, and it feels like the whole world sees us as downtrodden and violent. And a very human response to this is an artistic one.”
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  Decades before the deaths of Michael Brown, Philando Castile, and Baltimore’s own Freddie Gray, Scott was referencing lynchings and rapes in her bold, luminous beadwork. You can trace the arc of Baltimore’s socially aware art from artists like Scott to the paintings of Amy Sherald, for example, who depicts her African-American subjects with power and depth, and Stephen Towns, whose work re-constructs the narrative surrounding historical figures such as slave rebellion leader Nat Turner.    
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  “When you look at other cities, you can say ‘Oh, that’s the one artist or the one organization that has activism in their work,’” says George Ciscle, founder of the curatorial practice master’s program at the Maryland Institute College of Art (MICA), as well as The Contemporary, Baltimore’s roving modern art museum. “But in Baltimore, so many of us are fighting this way—and it’s not just individual artists, it’s organizations as well. We really stand out in that regard.”
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  <center><h5 class="captionVideo thin">Installation process from The Artists For Truth inaugural benefit exhibition opening.</h5></center>
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  Nationally, and perhaps internationally, the 2016 presidential election brought artistic resistance to a new level. Artists Ai Weiwei and Kara Walker have consistently commented on political and social issues. Pulitzer Prize-winning author Toni Morrison wrote in response to George W. Bush’s 2004 election, “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.”
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  If you scroll through the venerable online arts journal Hyperallergic, at least one story a day mentions art as a form of protest or exhibits with social justice-related themes. There are more public examples as well, like the “Fearless Girl” statue that now stares down New York’s Wall Street bull. (Interestingly, Baltimore’s New Arts Foundry had a hand in constructing her.) And when the Trump administration announced the possibility of drastic funding cuts for the National Endowment for the Arts, directors of major museums—the Metropolitan Museum of Art in New York, for example—spoke out in editorials.
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  <h5 class="captionVideo thin">The mural <i>I Think That She Knows</i> by Megan Lewis from The Artists For Truth inaugural benefit.</h5>
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  “Months into Donald Trump’s presidency, artists started organizing themselves and using their work as a filter or lens to address issues like immigration, equity, and privilege,” Ciscle says. “It’s not something that’s on the sidelines—it’s coming to the forefront in the national art scene.” He cites the Blue Black exhibit at the Pulitzer Arts Foundation in St. Louis, which ruminates on race in a city still grappling with the death of an unarmed black man, Michael Brown. “That might not have come together before 2016,” he says.
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  Though the national political scene has affected Baltimore, the death of Freddie Gray in 2015 had a larger resonance. Days after violence tore through the city, a mural depicting Gray went up at the West Baltimore spot where he was taken into custody. Artists organized vigils, exhibits, and concerts to give back to the community, but, just like everyone else, they’re still wrestling with its impact. Shows at Galerie Myrtis, MICA, and others tackled the black experience in America, but the response wasn’t limited to visual art. Writers D. Watkins and Kondwani Fidel, among others, have risen to national prominence by telling their own experiences of growing up in Baltimore’s poor, black neighborhoods. And in the classical music world, The Peabody Institute started offering a workshop called Art and Activism (led by Judah Adashi, who is featured on page 120) that allows music students to ponder their roles in a socially aware society.
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  “Freddie Gray has really made Baltimore look at issues of privilege, prejudice, equity, and talk about them,” Ciscle says. “I saw this with my grad students [at MICA], in regards to what they were talking about prior to Freddie Gray and since then, I’m not going to say it has put the black and white community together, but it has pointed out what the inequities are and said this is our priority as an arts community.”
  It was not a stretch, then, to imagine that Baltimore artists would respond to white nationalists marching on Charlottesville, Virginia, in August. Soon after, a Confederate monument in Bolton Hill was doused with red paint and activists placed Pablo Machioli’s sculpture of an African mother with her fist raised at the Wyman Park site of another such monument. 
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  <p class="artquote clan uppers text-center">Though the national political scene has affected Baltimore, <b style="color:#981b1e;">the death of Freddie Gray</b> in 2015 had a larger resonance.</p>
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  Machioli’s work remained as the Confederate monuments, as well as a statue of controversial Supreme Court Chief Justice Roger B. Taney in Mt. Vernon Place, were removed within a few days to much fanfare. The Walters Art Museum said in a statement that it was proud to be in a city where “monuments that glorified values we cannot condone have—literally—been taken down from their pedestals.” The Baltimore Museum of Art director Christopher Bedford—who called the removal “an opportunity to envision the art that best represents the aspirations and values of Baltimore”—is part of a panel that will decide what to do with the statues, and the spots that they leave vacant. 
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  They could take a page from Wallace, whose work gets immediate interest on Park Avenue. A car beeps a series of friendly honks, a woman lingers by a photograph of a boy on a motorbike. “How ya’ll doing?” a passing man asks.
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  “What’s going on, man?” Wallace answers, signing her photos with a marker.
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  Then a man in a rumpled red coat with bloodshot eyes walks up the block. “Are these your photos?” he asks Wallace. When she says yes, he smiles and says, “These are very nice.”
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  After he leaves, Wallace is quiet. “I would rather do this than have an art show,” she says a moment later. “You don’t always have to give back by protesting. People have to be effective any way they can. This is my way.”
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  Visual Artist, composer, musician
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  <b>Activist Work</b>:  A 2017 Guggenheim fellow and a winner of Baltimore’s Baker Artist Awards, Rucker examines human rights and communities, including the prison-industrial complex and how it relates to slavery. His exhibit Rewind, which addresses cultural and social issues relating to race, class, and power, is currently touring the country. 
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  As told to Gabriella Souza</i>: It was serendipitous because when my exhibit Rewind opened at the Creative Alliance in 2015, it was the same month that [the D. W. Griffith movie] The Birth of a Nation opened 100 years before, and that had set off a wave of white protectionism and fear in America. One of the reasons why my work is around this aspect of history is that history is repeating itself over and over again. My point was that hate groups still exist and they’re relevant and they’ve changed form. Several of the Ku Klux Klan robes I made for my show are camouflage, and I wanted to show that racism can have a stealth form, it have can have a protectionist or nationalist bent. But the thing is, you can’t always prove that it is what it is, you can’t always prove that you’re being treated differently, although you saw the person in front of you get called ‘sir’ and you aren’t getting called ‘sir’. It’s maddening, but the thing that I’ve realized is that people don’t realize what they’re doing. Even well-intended progressives, who think they’re being fair, are not acknowledging their surroundings. I love that there are a lot of white people who are putting out Black Lives Matter signs, but black neighbors matter—look at your neighborhood. Black jobs matter—look at your workplace. Who’s around you, who’s not around you? You’re in a city, Baltimore, that’s 64 percent black. 
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  <center><h5 class="captionVideo thin">Paul Rucker’s <i>Proliferation</i>.</h5></center>
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  <p class="artquote clan uppers text-center">“My point was that <b style="color:#981b1e;">hate groups still exist</b> and they’re relevant and they’ve changed form.”</p>
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  After the [2016 presidential] election, I realized that I didn’t need to take my show to New York or Los Angeles or Chicago—this show needed to be seen in smaller places. It’s going to Ferguson, then to York, Pennsylvania, then the Institute for Contemporary Art at Virginia Commonwealth University in Richmond. Ferguson couldn’t pay for it, so I sold a piece of mine to the University of Maryland, College Park, to fund my airfare and the airfare of the photographer documenting the show, as well as the cost of shipping, building, and presenting the show. I don’t sell a work to sell a work. Anything that I sell dealing with people’s deaths, I put the money back into a show or give it to another institution. 
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  Being in Baltimore, it’s really important that we know more about slavery since this was a major slave port. We need to emphasize that slaves were not just big black men. They were pregnant women working in the fields, they were children, as soon as they could walk, who were made to shoo birds away from the field or participate in manual labor. This is important to me, but it should be important to America and American history as far as how we got here today, and who benefitted from these atrocities, and who’s benefitting now. We have to think about why we have what we have in place and how we got here—and if we don’t, it’s not going to be pretty. We’re wrestling with the soul of our city, and this city and this country are suffering.
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  Photographer, multimedia artist, and educator
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  <b>Activist Work</b>:  Garcia’s 2015 exhibit Después de la Frontera (After the Border) at the Creative Alliance told the stories of undocumented youth and families who had fled their homes in Central America to come to Baltimore. Her work “Counterpunch” documents the fighting spirit of three Latina women who work at the facilities management department at the Maryland Institute College of  Art. She is the editor and co-founder of Hyrsteria, a zine that highlights the social disparities that challenge our day-to-day lives.
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  As told to Gabriella Souza</i>: The work I make is reflective of the communities I’m surrounded by or what they’re concerned about. Especially because I am Latina, immigration is something I’ve worked on for a couple of years, and is something that I care about. It’s even more intense since the presidential election, with deportations and raids, plus just the culture shock of being an immigrant—trying to find work, deal with the language barrier. I work a lot with narrative. Stories are something really innate to people. They’re from our ancestors, something we’re familiar with from our ancestors, and I think that stories are really powerful ways of teaching people. When someone tells you a story from beginning to end, your brain is imagining yourself in that story. That can create empathy to a certain degree. I make the work that I do using stories because it’s a powerful medium of teaching people. The work that I do, regardless of what it is, is about stories and sharing.
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  <center><h5 class="captionVideo thin">Tanya Garcia photography from <i>#ShutItDown</i>.</h5></center>
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  <p class="artquote clan uppers text-center">“oftentimes, <b style="color:#981b1e;">we’re silenced for whatever differences we have</b>, whether we’re a woman, a woman of color, an LGBTQ woman of color.”</p>
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  I did a video in my exhibit Después de la Frontera of a woman from El Salvador telling her story of coming to the U.S. where I only showed her eyes. There are a few reasons why I did that. One is to keep some anonymity about who she is because she is undocumented. But her eyes really told a story, too—everyone’s do. The expressions you make, and your gestures, show in your eyes. I wanted the viewer to be confronted with her story and not look away. It’s simple in that there’s nothing else going on visually, it’s just her eyes, her oral history essentially, so you’re really focused on her and her story. 
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  Storytelling like this is needed because, oftentimes, we’re silenced for whatever differences we have, whether we’re a woman, a woman of color, an LGBTQ woman of color. It’s combating this narrative that we aren’t important and we’re not human. The more you strip people away from their identity, their stories, their histories, their citizenship, their rights, the easier you can demonize them, call them a menace, say you should be scared of them. You’re feeding off people’s fear, and fear is really strong. Our government has done a really good job of connecting fear and safety to race, and it’s really important to contradict that narrative through personal stories of people who are responding to what they’re living through every day. Once that’s lost, it’s easy to just cast them off, ship them off as if they don’t exist, they don’t have relatives and families, they don’t have lives.
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  <center><h5 class="captionVideo thin">Performers during the Rise Bmore concert.</h5></center>
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  Composer, professor at the Peabody Institute
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  <b>Activist Work</b>: Adashi is the founder and director of Rise Bmore, a multifaceted concert held each year on the anniversary of Freddie Gray’s death, and the founder and artistic director of the Evolution Contemporary Music Series. His choral work “Rise” traces America’s civil rights struggles from Selma to Ferguson and beyond. 
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  As told to Gabriella Souza</i>: I think a lot about my own upbringing and how it relates to the things that I do now. My mom is from Romania and my dad is from Israel. I was a sheltered only child, who was taught to do well, taught to not rock the boat. I’ve definitely become more attuned to the fact that I’m first-generation American. I used to not care about it at all, because when you’re a kid, all you want is to be like everyone else, and your immigrant parents are just a hindrance to that. Then you learn how meaningful it is to be other. One of the things I’ve noticed is that what a white person goes through is relatively easy. But people want to decry calling out racism more than they want to decry racism. Apparently the word “racism” is nastier to people than the thing itself. Just like there are people for whom the Baltimore Uprising in 2015 will forever be violent when I always hold fast to the idea that the single most violent act of the Uprising was the murder of Freddie Gray. 
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  <p class="artquote clan uppers text-center">“Music is a good <b style="color:#981b1e;">figurative space</b> in which to engage with these things. ”</p>
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  That, to me, is what most of my music is about. Music is a good figurative space in which to engage with these things. There are many schools of thought about what it means to write activist music. A composer friend of mine [David T. Little] makes a distinction between revolutionary music and critical music. Revolutionary music is essentially propaganda; critical music is a sense of bearing witness to things so that they’re not forgotten, so that they don’t become casualties of cultural amnesia—you are not offering the truth or the conclusion. I think Freddie Gray is a pretty distant memory for some people, and that’s unbelievable. I do think that’s not as common with cultural traumas that affect white people equally, like 9/11. He had no intention of being the symbol that he has become, and he deserves to be alive. But he did touch something in a lot of people here, and that’s powerful. That’s what I see in Baltimore. So much art seems to come from that place—that deep love of this city, and a pretty clear-eyed awareness that we are one of the ground zeros for what it looks like when a city was conceived as hyper-segregated and people here still live that truth in many ways. Art can connect artists across different genres, races, ages, genders, and identities of all kinds, and it also invites people into what that creates. I think it has potential to heal, to transform, to make people sit with discomfort. That’s what I’m trying to do with Rise Bmore, to form community around this remembrance.
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  Poet, organizer
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  <b>Activist Work</b>: Agostini is a founding member of the Rooted Collective, which is a gathering of black LGBTQ people in Baltimore that creates events featuring music, art, and conversation centered around healing. She is a part of the Black Ladies Brunch Collective, a group of poets that just published its first book, Not Without Our Laughter. She serves as the chief operating officer of FORCE: Upsetting Rape Culture, which works to support survivors of domestic violence and sexual assault and transform cultural attitudes to prevent rape and abuse.
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  As told to Gabriella Souza</i>: At a very young age, I survived sexual abuse. I didn’t have the words for it, I didn’t know how to name it. I grew up in a family where you trusted adults, you trusted the people around you, and when I started telling people, it was hard for them to comprehend what to say to me or what to do. I just thought, ‘okay, this is my fault, this is something that is my burden, I failed the people around me.’ I took that with me, I carried that as my shame for a very long time. When I was about six, my grandmother taught me how to write, and that was the first place where I could go to where no one was telling me what I could and could not say. I couldn’t talk about being sexually abused, I couldn’t talk about the violence I was seeing in my home, I couldn’t talk about the pain I was feeling in my body, but I could write these poems. I don’t think I could articulate it at that time, but that became a point of resistance. 
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  <center><h5 class="captionVideo thin">Saida Agostini shares her piece, <i>Bresha Meadows Speaks On Divinity</i>.</h5></center>
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  <p class="artquote clan uppers text-center">“it’s not just about what it is that we’re <b style="color:#981b1e;">fighting against</b>, but it’s actually about what we’re <b style="color:#981b1e;">fighting for</b>.”</p>
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  I really carried that with me, and I was really fortunate that I had this beautiful collective of black writers who saw my work and said this is what you need to be doing. I think what we often forget about resistance work is that it’s not just about what it is that we’re fighting against, but it’s actually about what we’re fighting for. The most radical art helps us think about different ways to think, different ways to feel, and the world that we want. For me, I want a world that is safe, and a world where I don’t have to say black lives matter, where I don’t have to say that my life as a black queer woman or the lives of black trans women matter, because it’s just as accepted and as natural as breathing.
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  Everybody has their own path around artistry and resistance, and for me, storytelling and talking about my own experience and what has happened within my body has become so important for me. We’re taught that there’s this ethic of responsibility politics and if you’re black you have to present this perfect image. I did all of the right things, went to the right universities, got the right grades, and I wasn’t happy. I even tried not to be a poet for a really long time because I felt like I didn’t fit into the box of what my parents and my family would want. And I kind of kept going back to the thing where what makes me most joyful, and when I’ve seen my family and my people be most joyful, is when we’re sharing these stories. So that means that truth-telling is the best thing that I can do, when I’m standing in witness of what I know.
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  Members: Melissa Webb (MW), Amy Eva Raehse (AER), Maggie Villegas [MV], Ryan Hoover [RH], Rob Ferrell, Lillian Hoover, Bart O’Reilly, Emily Jane Soontornsaratool 
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  <b>Activist Work</b>: This collective of artists, professors, and curators organized its first benefit exhibition in June, showing more than 250 artworks by 150 local and national artists. Through the sale of those artworks, it raised $16,000 for The Center for Media Justice, the Baltimore Action Legal Team, the Enoch Pratt Free Library, and The News Literacy Project.
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  As told to Gabriella Souza</i>:  <b>MW</b>: Soon after the 2016 presidential election, Lillian [Hoover] posted an inquiry on social media asking if anyone wanted to put on a benefit exhibition. There was just this feeling of helplessness, that things had spiraled out of our control. All who responded were looking for a way to contribute—to utilize our skills as artists and organizers to unify the community around collective concerns, and to find a way to raise money to aid organizations that have long been focused on issues we care deeply about. After much discussion surrounding civil rights, police brutality, and climate change, among others, we moved toward the issue of truth, and the consistent lack thereof. The deliberate misinformation and manipulation of facts in media and political discourse encapsulated so many of the concerns we had. It turned out to be timely, right before “fake news” became the news. 
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  <b>AER</b>: The chaos leading up to—and the repercussion of—the election was sobering, just as the proliferation of fabricated information was overwhelming. The safety of our citizens felt tenuous. We were still trying to rise up, as a unified city, from the impact and implication of Freddie Gray’s death, and we suddenly had an unstable man—who openly expressed hateful, misogynistic, racist, homophobic, anti-immigrant, anti-culture views—leading our country. Baltimore needed a counterpoint to the anger—something restorative while remaining an act of resistance. We wanted to do something to send a message, and we wanted to help artists find their voices because artistic voice has been a potent looking glass and change maker throughout history. 
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  <b>MV</b>: There’s a sense of social responsibility here in amplifying the work of other activists, in educating, that I just hadn’t seen before moving to Baltimore. It’s central to how artists think here. People here don’t wait for the city or institutions to solve problems for them. They are focused on figuring out what they can do themselves. I think they recognize that it’s the best way to get shit done. And that might be frustrating, but it’s also empowering.
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  <b>RH</b>: Some artists in Baltimore address political issues as the subject of their work, some engage in political action through their work, and other artists are politically active outside of their art practice. I think this ethos comes from the city in general. We have problems, but they often bring people together to work on solutions and make a real difference. There is a lot of work to do in this regard, but there is a tremendous amount of value in bringing people together to share knowledge, perspectives, and resources. I value not just the activist spirit of the arts community, but the way the activist community welcomes and incorporates the arts into their practices. I hope these lines continue to blur even further as more relationships are built. 
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  <p class="artquote clan uppers text-center">“We wanted to do <b style="color:#981b1e;">something</b> to&nbsp;send&nbsp;a&nbsp;message.”</p>
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<p><a href="https://www.baltimoremagazine.com/section/artsentertainment/fall-arts-this-is-what-activism-looks-like/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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