in Philadelphia, particularly as it relates to the
WEAVER: When you set the parameters for the
Fine Print Workshop of the Works Progress
exhibition, it seems you decided to look at artists
Administration (WPA). We’ve included an etching
who resided, created, and established working
and a charcoal drawing by Tanner, The Disciples
relationships in and around Philadelphia, as opposed
See Christ Walking on the Water (1907; ill. p. 90)
to people who happened to have been born here, or
and Study for Christ (1900; ill. p. 15), both from
who just came here for school.
the collection of the New York Public Library’s Schomburg Center for Research in Black Culture.
organizations and institutions of this city. Someone
Black Artists in Philadelphia, 1920s–1970s, choosing
who was born and raised here but left to pursue a professional career elsewhere would have a different story of the Philadelphia area than someone
currently using, but we also realized that “African
who was educated here, showed work here, or
American” excludes people whose heritage is of
participated in community organizations here. Some
Photograph courtesy of the Philadelphia Museum of Art
the Caribbean islands; “black” is more inclusive. For
of the artists in the exhibition have a much stronger
myself, I’ve never been entirely comfortable with the
connection to Philadelphia than others, but all of
“hyphenated” categorization “Italian-American”; I’m
them have a claim to the city, or the city has a claim
an American citizen of Italian descent, and I don’t
to them, in one way or another.
nineteenth century. Of course, PAFA also has an
like any suggestion that my Italian heritage modifies my American identity.
WOODLEY: The impact of artists at historically
black colleges and institutions, such as Laura
important connection to Tanner, since that was the
GOLD: In choosing this term we also took a cue
Wheeler Waring at Cheyney University of
school he attended. Unfortunately, the sad narrative
from a leading scholar in the field, Richard J. Powell,
Pennsylvania, is also important. Leslie Pinckney
of Tanner’s career is that he left the United States
who understands “black” to address much more
Hill, who was president of the college at the time,
for Europe in search of a more open, less racist
than just lineage. For Powell, the term refers more
had a very strong influence on the direction of
context in which to pursue his art. In the period in
significantly to the collective social experiences
the institution and the art department. And after
which this exhibition begins, the 1920s, the great
and realities of those who have emerged from
Waring came John T. Harris.
Marian Anderson had to do the same: leave the
generations of systematic political exploitation
United States to build her career in the friendlier-by-
and cultural domination.
degree environment of Europe.
WOODMERE ART MUSEUM
important. We called this exhibition We Speak:
we looked at the language the New York Times is
of art ever purchased by the museum in the late
36
we included had real connections with the arts
not to use “African American” in the title. In part,
(1898) was among the first contemporary works
courtesy of the Philadelphia Museum of Art
focus. We wanted to make sure that the artists
VALERIO: A discussion of terminology is also
The Annunciation, 1898, by Henry Ossawa Tanner (Philadelphia Museum of Art: Purchased with the W. P. Wilstach Fund, W1899-1-1)
Museum of Art was that Tanner’s The Annunciation
Charles Willson Peale (1741–1827), after 1802, attributed to Moses Williams (Philadelphia Museum of Art: Gift of the McNeil Americana Collection, 2009-18-42[167]) Photograph
GOLD: Yes, we wanted to maintain a tight
GOLD: Waring will be represented in Woodmere’s
exhibition by two works, including W.E.B. Du Bois
SHANNON: My take is that you’re going to rock the
(before 1948; ill. p. 13), a portrait from the collection
GOLD: Although Tanner was formed intellectually
boat no matter which way you go, so you need to
of the National Portrait Gallery in Washington, DC.
in the late nineteenth-century, the Thomas Eakins
be able to defend the reasoning behind whatever
We’ll also be including a few works on paper by
era of the arts in Philadelphia, we felt it necessary
choice you make. The decision should be based on
Harris borrowed from local collections.
to include his work in this exhibition, because
thoughtful discussion so that you can stand up for
it’s so relevant to the discussion of networks
it. It generates interesting perspectives. If people
and relationships among artists. Tanner set an
don’t like it, that’s okay, as long as you’re prepared
important precedent for the printmaking tradition
and able to present your views.
WOODLEY: There was also so much going on in
the School District of Philadelphia’s art program in the 1950s, 1960s, and 1970s. Many had their first
WE SPEAK: Black Artists in Philadelphia, 1920s–1970s
37