Break Down And Let It All Out By Gavin Benjamin

Preface

By a nne kR ay B ill

It was a sunny day in October 2020 when I first met Gavin Benjamin with colleagues from The Westmoreland Museum of American Art. We were visiting studios in search of potential acquisitions. We had been living with COVID-19 for months and it felt good to be in the physical company of others. As we learned more about Benjamin’s process, we quickly realized this visit would manifest into something beyond a mere acquisition of art for the collection. We grew excited as we discussed the visit and possibility of an artist residency over a shared meal outside. It was (and still is) a time of reckoning for art museums across the country. During COVID-19 many museums laid off their visitor-facing staff, who are often the most diverse staff in an organization. Many organizations across the nation were sent open letters demanding that they dismantle colonial and white supremacist models of operating. At The Westmoreland Museum of American Art, we wanted to be part of the change. We found ourselves genuinely trying to navigate this challenging time and engage in conversations about equity in a community that is not always perceived as diverse, welcoming, or inclusive.

I moved to Greensburg, the county seat of Westmoreland County, Pennsylvania, in 2018 after accepting the role of The Richard M. Scaife Director/CEO of The Westmoreland. As part of my research prior to moving, I looked at census data and the history of the region. It is a region that was hit particularly hard when the steel industry collapsed, and many who had lived there left, resulting in an entire generation who would

have been born there coming into the world elsewhere. The population's median age is 47, compared to the national age of 38. Racially the region is incredibly homogeneous, with almost 95% identifying as white. As new manufacturing industries tried to move in and a workforce in healthcare became paramount for an aging population, leaders realized that they had to attract new and diverse residents. But how could the community prepare to be welcoming and inclusive if it was not already acknowledging the diverse individuals, many of whom had lived for generations, in the region?

Benjamin wondered, “how do folks of color survive in environments like this?” All communities are complicated, nuanced, and certainly not monolithic, and that is what Benjamin discovered as he embedded himself in Greensburg, a city in the greater Westmoreland County. He met with residents that identify as Black or immigrants. He got to know them personally and understand what keeps them rooted in the community. The process was beautifully documented and revealed the mutual trust and respect that was established between the artist and the community; these were not transactional relationships of artist and subject–rather these were genuine friendships.

The resulting exhibition, Break Down and Let it All Out (2022), is a collection of beautiful portraits that center these residents of Westmoreland County in the tone of emotional release that Nina Simone speaks of in her song for which the exhibition is titled. Benjamin’s Break Down and Let It All Out reminds us all that the power of art can be extraordinarily healing.

My inspiration for Break Down and Let It All Out came after years of driving through Rust Belt cities with friends. I would often reflect on the question: how do people of color and immigrants exist within these often rural, industrial American spaces? As a Black, gay, immigrant, artist, and photographer living in the American Rust Belt, life can sometimes be isolating. It is isolation that has crept in and been woven into the fabric of African-American history. Isolation one can feel vibrating on many levels. Isolation that has its roots in the history of colonialism, when the master would put Black families up for sale to be sold off separately as no more than objects.

Walking through the doors of white institutions, such as museums, will leave you with that feeling... Looking at the pictures on the walls and not seeing anyone who looks like me... I don’t belong. I was never here. Never existed. Isolation…

I want this series to break that achingly familiar pattern by retelling these narratives. I want to show our people as leaders, upstanding family members, community builders, pioneers—strong, living rich and healthy lives. Something mainstream media often chooses not to focus on, because they assume it won’t sell enough products or get enough clicks.

For me this is updating; reimagining our stories and bringing them into the present, which can and will be very challenging for institutions without the help and support of a multicultural workforce and a willingness to learn and change.

As a consummate student, there is so much that I have learned from this project, and so much more that I am still learning. One of the biggest takeaways for me was the excitement of the local community. Some of these folks had never set foot in a museum, this museum. Before this experience, their reasons included: “that space is not about me,” “I never felt invited,” and “there is no one that looks like me on those walls.”

To be seen within and on the walls of The Westmoreland Museum of American Art, within its collection, elevates this exhibition into a work of community building. For some Black folks within this community, this is the biggest event of their lives. I hope the museum continues reaching out to disenfranchised communities and pushing the boundaries of storytelling—so that our youth will know that they belong, in our Rust Belt cities and on the walls of any museum.

gaVI n B en Jam I n Artist, Creative Director

cont R i

s ean Beaufo R d

is a producer, independent curator, and museum worker concerned with engaging marginalized communities through culturally relevant, educational, and accessible programming. Since 2018 he has worked at the Carnegie Museum of Art as the Manager of Community Relationships. A selection of his writings can be found in the Bunker Review, Artsy and Public Source

ta R a fay coleman is a mother, conceptual artist, curator, writer, and arts worker from Buffalo, NY. She currently lives and works in Pittsburgh, PA. Fay’s work consists of a multidisciplinary praxis that is an exploration of identity, motherhood, Black womanhood, and taking up space. Through her practice, she mines her own lived experiences for subject matter, with a goal to intertwine her life with her work.

e lsa m eha Ry

eR ika Butle R -Jones

is an interior designer, creative director, and cultural historian based in Pittsburgh, PA. An alumna of Harvard University (B.A.) and Parsons School of Design (M.A.), Erika’s work dwells at the intersection of aesthetics, design, and Black cultural history. You can find her on Instagram @erikabutlerjones.

Je R emiah

w illiam m c c a R thy is presently Chief Curator at the Westmoreland Museum of American Art. Exhibitions he has organized or co-organized include Inspired Encounters: Women Artists and the Legacies of Modern Art (202223) the inaugural exhibition of the David Rockefeller Creative Arts Center in Tarrytown, NY; For America: Paintings from the National Academy of Design (2019-22), which traveled to eight museums in all five regions of the United States; and Women Artists in Paris, 1850-1900 (201718), awarded “Best Painting Show of 2018” by The Boston Globe. Prior to his work at The Westmoreland, he was Consulting Curator for the Rockefeller Brothers Fund, Curator at the National Academy of Design, and Associate Curator at the American Federation of Arts.

is an entrepreneur, creative director, and business strategy coach for women led businesses. She has a corporate background as an Art Director at T: New York Times Style Magazine, InStyle, Real Simple, Harper's Bazaar, and Essence. Her design work centers on wellness, social impact for good, and interior design. She creates limited edition product lines under the MeharyJewel brand for fun and utilizes wellness travels for deep rest. Living between Brooklyn and Mexico you can follow her journey @elsalovesyou.

acknowledgements

Nick Childers, Michael Olijnyk, Bee Nix, Dr. Erica Nuckles, Doug Evans, Anna Mirzyan, the Board and Staff at the Westmoreland Museum of American Art, Madeline Gent, Karla Stallworth.

B uto R s

a nne kR ay B ill is the Director/CEO of the Wichita Art Museum (WAM). Previous to her appointment at WAM, she was the Richard M. Scaife Director/ CEO of The Westmoreland Museum of American Art; she implemented a new strategic plan, which centers Diversity, Equity, Access, and Inclusion, and set the vision for the future, including an artist-in-residence program for BIPOC artists. Prior to her role at The Westmoreland, Anne was the Director of Education and Research in Learning at Crystal Bridges Museum of American Art.

is a self-taught photographer and artist specializing in black and white photography. He has photographed for clients in Pittsburgh, New York City, London, and Mexico. Ben currently works as a photojournalist for Public Source

Pamela coo P e R graduated from Seton Hill University with a B.A. in Graphic Arts/Fine Art with an Art Teaching Certification. She is an award-winning artist whose style is figurative with abstract and expressionist influences. Pamela has exhibited throughout Pittsburgh, including the Carnegie Museum of Art and the University of Pittsburgh Frick Art Gallery. Pamela’s work has also been featured at the Wilmer Jennings Gallery at Kenkeleba in New York. She is a member of several Pittsburgh arts organizations and a resident of Greensburg, PA.

Jacklyn monk is Managing Editor of Editorial Operations at New York-Presbyterian Hospital. Prior to NYP, she was Managing Editor at WSJ., The Wall Street Journal Magazine. Jacklyn has been Executive Editor at Essence and InStyle as well as Deputy Managing Editor at Real Simple She has held senior staff positions at Vibe, Girl, Bridal Guide, New Woman and Beauty Digest. Jacklyn is also the Founder and CEO of Junebug Ink, an upscale greeting card company that celebrates and commemorates modern life, while uplifting African-American culture, customs and traditions. For more information, check out junebugink.com

nina fR iedman is originally from Boston, MA. She moved to Pittsburgh, PA after completing her Bachelor’s Degree in Art History from the University of Vermont. Since then, Nina has held positions at the Andy Warhol Museum, Carnegie Museum of Art, and the Mattress Factory Museum of Contemporary Art. She has served as a board member of Bunker Projects since 2018 and is currently the board President. Nina is a second-year graduate student in the Arts Administration & Policy program at the School of the Art Institute of Chicago, she will graduate in Spring 2023.

Ben Jamin BR ady

10 Questions: cynse R e

1. HOW WOULD yOU DeScriBe WHere yOU LiVe?

....I can’t find anything positive to say.

2. IS THere a PLace THaT iS SacreD Or SPeciaL TO yOU aND WHy?

Yes! The Palace Theatre! Anywhere I was able to perform and unapologetically express myself holds a really special place in my heart.

3. HOW DOeS iT feeL TO See yOUrSeLf ON THe WaLLS Of THe MUSeUM?

When I first visited the exhibit at the Museum I was Joyful, emotional, and a little shocked. It was one of the very few times I felt seen and I felt as if I was a part of something larger than myself.

4. WHaT WaS THe exPerieNce Like TO SiT fOr THe POrTraiTS?

Sitting (or as in my case posing) was at first nerve racking. I didn’t know exactly how it was all gonna play out. I learned more about the project when I arrived, and Gavin supported and encouraged me during the journey. By the end I felt confident and very grateful for the moment.

5. WHaT'S ONe SONG/POeM/affirMaTiON/HyMN eVeryONe SHOULD kNOW?

Song: “Special” by Lizzo

Affirmation: “Take a deep breath. It’s just a bad day, not a bad life”

6. DiD yOU GO TO MUSeUMS WHeN yOU Were a kiD?

Surprisingly, I didn’t go to museums as a kid and really, not even now into my adult life. I was never very intrigued by art until the last two years of my life. As I’ve grown I found that art (of any form) has become something that I’m constantly seeking.

7. WHaT DO MUSeUMS MeaN TO yOU?

Museums don’t mean much to me but they do represent something to me. They represent so many facets of life, which is what I find intriguing. You can go to a museum and explore many different walks of life. Museums have the possibility to challenge the way you see and think about yourself and the world around you.

8. WHaT WOrD BeST DeScriBeS yOUr STyLe?

Authentic

9. DO yOU THiNk THaT arT caN cHaNGe HOW PeOPLe THiNk Or LOOk aT THe WOrLD?

One hundred percent I most certainly do. Art inspires. Art creates community. Art sparks conversation. Art heals. Most importantly, art is a global language.

10. WHaT iS ONe THiNG yOU WiLL Take aWay frOM THiS exPerieNce?

One thing I will take away from this experience is that it’s okay to be unapologetically me. Not just me but every single part of me. I am a gay, Black, feminine, male identifying person. Those things do and are allowed to coexist in any form or fashion. That by itself is art!

c ynse R e, Jeannette, Pa

er . . .

By Je R emiah w illiam m c c a R thy

Kellie, reticent smile and side-swept hair, crouches in the corner of an empty room. Anthony and Angela, side-byside with interlocked gazes and hands, create a world unto themselves in a room already peppered with pairs. Ty, both weary and self-possessed amidst the heavy symbols around him, reclines in a chair. The portraits themselves tell stories.

Initially aiming to connect with the African-American residents of Greensburg, Pennsylvania, Gavin Benjamin invited numerous members of communities historically underserved by institutions—recent immigrants, firstgeneration Americans, and POC—to sit for portraits and imagine their places within The Westmoreland Museum of American Art. Kellie is from Greensburg, Anthony and Angela from Plum, Ty from Jeannette.

The portraits are set in two stately paneled rooms, built circa 1750, designed by Swedish-Scottish architect Sir William Chambers, donated to the Museum by Mrs. Cordelia Scaife May and Mr. Richard M. Scaife in 1966. The Museum’s footprint was expanded to accommodate the rooms, which once graced Penguin Court, the Scaife family estate, named for the 10 penguins that once roamed the property. Museums, like estates, are sites of enormous power and privilege, and within the Westmoreland Museum, a space composed of cantilevered galleries and cubes, the paneled rooms are a potent testament to institutional power. As the inaugural project of the Museum’s new series of paneled room projects, Break Down and Let It All Out acknowledges the museum’s complex past, visualizes possibilities for the present, and gestures towards a more equitable future.

The exhibition is conceived as a fantasy. Moving through the paneled rooms, a visitor finds objects from the museum’s collection installed alongside Benjamin’s psychologically rich portraits of the surrounding community. Their combined effect creates a fabricated domestic space that has been occupied by a fictional Black family for nearly 250 years.

Certain visual motifs echo across media; boats populate both the photographs and the rooms, taking various incarnations ranging from vanessa german's assemblage to the vintage pond model of the 1940s–the “Sail-R-Boy” Challenger. These vessels allude to migration and travel, stories of pain and possibility. Elders adorn the walls, from Robert Gwathmey’s Portrait of a Black Woman (1949) to Benjamin’s Yvonne, Greensburg, PA (2022). Their roles in the preservation and transmission of knowledge is symbolized in Harry Roseland’s A Stitch in Time (n.d.), which crowns the large paneled room’s mantle, a tender depiction of a grandfather and granddaughter meticulously sewing a button.

Questions begin to form in the mind: how might we think otherwise about sites of power and privilege? What role does a museum play in the formation of a community? And how do portraits both preserve and provoke? Just as photography has the power to turn people into objects, photographs can also take on lives of their own. They are powerful tools for imagining alternatives to the present, and play a transformative role in the formation of cultural memory. Nina Simone once sang “But it's not enough just to remember, 'cause/What good is the past?” Look closely. Break Down and Let It All Out might offer an answer.

It's not enough just to re M e MB

The psychologically rich portraits that make up Break Down and Let It All Out envision a lush living space inhabited by a fictional Black family for almost 250 years.

R

Ron and d o RR is, Latrobe, Pa

m em B e R s f R om the l i V ing wo R d c ong R egational c hu R ch, Jeannette, Pa

Ruth, d erry, Pa , and R uth, Greensb U r G , Pa

Reflections f R om a gR anddaughte R of the Rust Belt

Gavin Benjamin’s photography offers hope for an equal and just future in a present shaped by oppression and outrageous neglect.

By ta R a fay coleman

When I relocated from Buffalo to Pittsburgh, back in 2004, I had no knowledge of the existent historical connections between the two cities, and therefore considered myself an outsider in many ways. The Rust Belt refers to a geographical region comprising Chicago, Baltimore, Pittsburgh, Buffalo, Cleveland, and Detroit (among others) that once served as a hub of industry where coal and steel thrived. Now I know: I am and always have been a granddaughter of steel mills, and Pittsburgh is as much a part of my history as Buffalo ever was. There's a sense of pride that comes along with knowing you belong somewhere, that you are as much a part of the history, and a part of the narrative as anyone else.

As Black people, to see ourselves in something is to be recognized and accepted. This need is rooted in an innate desire for connection, and our want to be known and validated within spaces where we have traditionally been ignored. To see is to be seen, and there is a particular urgency to be seen as a Black woman in Pittsburgh, where the conditions of a decent life are not guaranteed for many of us. We are often represented in ways that lack perspective, or represent a singular outlook or experience; narrow representations of Blackness that don’t reflect the nuances of what it is to actually be an African American living in a Rust Belt city.

It’s rare that I'm able to see myself in the work of many artists. What most often seems to be cast back are only bits and pieces of me; a glimmer or a fragment of something familiar, the work serving as a requiem for a memory or experience that's not quite whole, not quite my own. Gavin Benjamin’s Break Down and Let It All Out (2022) at The Westmoreland Museum of American Art presents a body of work that focuses on individuals and communities, while critically addressing an institution that has historically excluded them. Benjamin documents subjects with grace, intention, and dignity, and challenges the rigid constraints that exist within traditional modes of portraiture.

In this exhibition, the bits and pieces of myself that I see have created something robust. The formal beauty in the images creates a sense of pride and inspiration; the Blackness displayed here is both visible and aspirational. Benjamin's photography frames his subjects as historical figures while allowing space for them to show up as themselves, acknowledging the depth and varied experience of Black people in Westmoreland County. In an approach that echoes life stages, legacy, and parenthood, they are multi-generational, there is vitality, joy, and humanity on display, giving us hope for a future in a present shaped by oppression and outrageous neglect. Here, we belong. We are a part of the history and the narrative. Here, we are seen and heard. Here, we have commanded the space, and created a visual record of what it is to be Black in a Rust Belt city.

WH aT Wa S TH e ex P er I e N ce LI ke TO SIT f O r TH e PO r T ra ITS?

In Fall 2020, I lost both of my parents to COVID-19. Two years later, there is still no day that I do not mourn my parents. Given the restrictions on in-person gathering, we were unable to hold traditional funeral services. It crushed me that my parents were unable to have the homegoing that would celebrate their extraordinary lives, recounts Tricia, pictured reclining on the chaise lounge.

d e RRy, t onyia and n - d ia, Greensb U r G , Pa

n otes on Developing Break D OWN a ND Le T i T aLL O UT

Determined to meet the BIPOC community of Westmoreland County, Gavin Benjamin enlisted the assistance of a well-known, local artist who helped him connect with all the right people and forge genuine friendships.

By Pamela coo P e R

In the Spring of 2021 I received a call informing me that Pittsburgh-based artist Gavin Benjamin needed models for his residency at the Westmoreland Museum of American Art (WMAA). I saw Benjamin standing outside the Museum engaging with prospective sitters. I was immediately drawn to his smile, energy, and the warmth he generated. After speaking with him, he asked me to assist him with the project. As I learned more about his overall vision, we worked together to develop what eventually became Break Down and Let It All Out

As a well-known Greensburg artist and resident, Benjamin wanted me to introduce him to some of the BIPOC residents of Westmoreland County; Benjamin wanted to feature locals as subjects in a new body of work that would be displayed at the Museum. Because I knew it would be a challenge for him to meet people without my assistance, I became Benjamin’s casting director, introducing him to a great number of people, reflected in the outcome of the final project. As a fellow artist I shared with Gavin some of Greensburg’s colorful history, including my life here as a resident and an African-American female artist.

I told Benjamin that he should go to places where BIPOC people gather, and I cataloged each encounter, including dinner at a fellow artist and friend’s house; a Saturday morning mass at the Living Word Congregational Church; and a busy afternoon visit to Comrades Barber Shop located in Greensburg. During each visit I introduced Benjamin to my community, who were all eager to participate in his photoshoot at the Museum. I suggested he show the documentation to the former Museum Director/CEO Anne Kraybill, in order to provide a more comprehensive framework of his vision. As an intermediary, I was responsible for conveying Benjamin’s overall goal to the participants. Watching each phase of the process unfold brought me unexpected excitement in my own capacity as an artist, as I was able to witness the power of community bringing this project to life.

This photographic exhibition presented an opportunity to introduce audiences to multiculturalism in art and community, while creatively highlighting natives within the local narrative. I appreciate the unique opportunity to be a part of Break Down and Let It All Out. I hope the Museum will continue to support diverse aesthetics featuring Pennsylvania BIPOC artists and collaborators.

10 Questions : t y

1. HOW WOULD yOU DeScriBe WHere yOU LiVe?

The City of Jeannette was once an Industrial hub of Southwestern Pennsylvania, in the early 1900s. With industry and factories leaving the area and most of the United States, it is much smaller now and barely surviving. It is trying to find and reinvent its new identity, although many have given up on it and regard it as a "dead town." Jeannette has always been considered an "underdog," but the people have great pride, a strong spirit, and competitiveness.

2. IS THere a PLace THaT iS SacreD Or SPeciaL TO yOU aND WHy?

I regard Jeannette as special to me. I had a WONDERFUL childhood growing up here. Many, many people feel the same way. I regard my grandmother’s and mother's homes as sacred. They have passed away and those [homes] are the last signs of their existence and accomplishments of their time on this planet.

3. HOW DOeS iT feeL TO See yOUrSeLf ON THe WaLLS Of THe MUSeUM?

Like an honor. It gives a feeling of accomplishment. But, knowing that [the exhibition] is most likely only temporary, leaves a feeling that there will be regression and loss. And once again, less representation of African Americans in the county and community.

4. WHaT WaS THe exPerieNce Like TO SiT fOr THe POrTraiTS?

It was a great experience. I'm very proud to have been able to do it and contribute.

5. WHaT'S THe ONe SONG/POeM/ScriPTUre/HyMN eVeryONe SHOULD kNOW?

I have none, in particular, but I would say to anyone; "the one that brings YOU a positive feeling and mindset of hope and joy", which is so much needed, every day.

6. DiD yOU GO TO MUSeUMS WHeN yOU Were a kiD?

Maybe once or a few times, as a kid, possibly as a school field trip. But, I only REALLY remember museums, as I began college at the University of Pittsburgh and went to the Carnegie Museum and others in Pittsburgh.

7. WHaT DO MUSeUMS MeaN TO yOU?

A recording of history and [certain] individual's creativity and thoughts on society...whether realistic or abstract.

8. WHaT WOrD BeST DeScriBeS yOUr STyLe?

Mine. Diverse.

9. DO yOU THiNk THaT arT caN cHaNGe HOW PeOPLe THiNk Or LOOk aT THe WOrLD? Absolutely. It leaves room and possibility for people to use their own minds and creativity, to tell the story that the art portrays. It allows room for open conversation and discussion.

10. WHaT iS THe ONe THiNG yOU WiLL Take aWay frOM THiS exPerieNce?

A moment of accomplishment.

t y, Jeannette, Pa

l aw R ence, Jeanette, Pa and Ve R onica, Irwin, Pa

Within these Ha LLOW e D Ha LLS

Gavin Benjamin’s Break Down and Let It All Out offers a reimagining of Black subject-hood and proprietorship in southwestern Pennsylvania

By eR ika Butle R -Jones

To walk through Gavin Benjamin’s latest work, Break Down and Let It All Out is to experience a quiet, evocative portrayal of what many may consider to be traditional themes. But it would be a mistake to overlook or underestimate the complexities at play—for this work is, at once, both a celebratory repositioning and a radical reimagining of Black life in southwestern Pennsylvania.

Presented at The Westmoreland Museum of American Art in Greensburg—a quaint, rural suburb 30 miles east of Pittsburgh— Break Down and Let It All Out spans three adjacent exhibition spaces in the museum and is primarily situated within two areas, known collectively as The Paneled Rooms.

An architectural donation to the museum in 1966, the Large and Small Paneled Rooms were originally part of a historic English home and were designed by Sir William Chambers, the noted Swedish-Scottish architect who served as architect to King George III of England in the second half of the 18th century.

Boasting intricate ornamental detailing, including wainscoting and other decorative trim work, The Paneled Rooms’ walls and ceilings are indicative of Chambers’s neo-classical style. These elements fill the space with the storied stateliness of European classical revival architecture, which also inherently conjures up images of the kinds of people who originally commissioned and inhabited these spaces: wealthy, often royal, white men.

And in this requisite conjuring, these architectural signifiers also simultaneously—though often, but not always, quietly or indirectly—connote the kinds of people for whom these spaces were neither commissioned nor intended, at least as anything other than servants, that is: Black, Brown, and other people of color.

These Paneled Rooms, constructed around 1750—when Pennsylvania itself was a British, slaveholding colony—are steeped in the history of British colonialism and, now residing in Westmoreland County, are located in a region whose state representatives, in 1780, voted against the passing of Pennsylvania’s Gradual Abolition Act, where slave auctions continued to be held until 1817.

These, then, are the spaces and context that serve as the backdrop for Break Down and Let It All Out. This specific architectural

setting offers a direct, material connection to America’s colonial roots and to its resulting racial and socioeconomic hierarchies. Furthermore, this backdrop proves even more pertinent when one considers the concept behind the exhibit's installation.

In Break Down and Let It All Out Benjamin reimagines this historically complex backdrop as the home of a fictional Black family; a home which, in the context of this work, the family has owned for nearly 250 years. In so doing, Benjamin positions the present-day subjects of this work as descendants of these imagined free, Black Americans, who would have possessed a heritage of freedom and relative autonomy that dates back to before America’s own independence from Great Britain.

And to embody this idealized legacy, Benjamin chose local Greensburg and Westmoreland County residents to serve as the subjects of his portraiture—a choice which elevates these residents both figuratively and literally, to the physical extent of these images being mounted on the walls of the museum—which, in architecture, are known as a space’s “elevations.”

Within the exhibition space, the resonance of these artistic and subject-based choices are acutely palpable. Whether it is Shirlene, whose portrait hangs over the fireplace of the Small Paneled Room, adorned in a vibrant tunic and captured by the lens in a state of joyous movement, or Anthony and Angela, who stare lovingly into each other’s eyes in the Large Paneled Room—this is a work of collective, celebratory re-contextualization.

Thus, in its repositioning of Black Westmoreland County residents as the subjects of this work, Break Down and Let It All Out effectively breaks new ground while drawing historical connections—and it does so in a multilayered way: both within the immediate context of the individuals and families who are now prominently featured in the museum’s gallery, and within the macro context of the larger historical tapestry that this work is now woven into.

And as Nina Simone sings in “Break Down and Let It All Out” (1966), the song from which Benjamin’s exhibit derives its name, perhaps it is this kind of radical re-imaginings of Black subjecthood and proprietorship that will allow new “old memories” to aid in eventually setting our collective hearts at ease.