According to a December 2011 article in The Atlantic, “The Psychology of Home: Why Where You Live Means So Much,” author Julie Beck writes: “The dominant Western viewpoint is that regardless of location, the individual remains unchanged.” South Asians in contrast believe that your home is who you are because “people and the places where they reside are engaged in a continuing set of exchanges…” It’s fascinating to note this distinction. What does home mean to you? This seemingly simple question is a complex one because the word home is intertwined with feelings of belonging, being settled, and feeling centered. For many, even in the West, their sense of home is intimately connected to their sense of self. Certainly, for Frida, home meant Mexico, a sentiment that was strengthened while living in the United States. As an outsider in San Francisco, she was viewed as the petite, exotic wife of Diego Rivera. This perception of her as “petite,” “exotic,” and “wife of” creates the image of a small, unobtrusive foreign wife to a man hailed as a great artist. Where is Frida’s identity in this description? Certainly many of these perceptions were informed by 1930s attitudes concerning gender and race. Sadly, many of these sexist and racist perceptions still exist in the United States today. This is clear in Mark Harris’s To Be Young, Gifted, and Criminalized, where a young African American boy looks up in a contemplative mood while writing as if he’s gathering his thoughts before putting another sentence down on paper. Is he thinking about a mathematical problem connected to all the equations behind him or is he beginning to lose consciousness due to the blood flowing out of the huge gaping holes in his body? By juxtaposing these two very different images of this young boy, Harris’s piece reveals the way in which perceptions of black males as dangerous criminals can cost a young gifted man his life. What might have become of this young black male had he lived in a society free of such racist stereotypes? As Harris states: “As a kid, I remember wanting to be a professional football player, astronaut and cowboy all in the same week. Unbridled imagination is a gift of youth. The possibilities of life seem endless and there is a desire and curiosity to try everything you can. Who’s to say that in today’s climate of police violence against African American youth that we haven’t already lost the next George Washington Carver, Ron McNair, Charles Drew or Thurgood Marshall?” James Baldwin wrote that “An identity is questioned only when it is menaced…” If you feel the “menace” of racial profiling on a regular basis, then your identity is called into question a lot. Can a place where your identity is questioned feel like home? There’s a thought-provoking exhibition at the Thacher Gallery on the campus of the University of San Francisco that explores the multiple meanings of home, both literal and metaphorical, in an innovative manner. Hiraeth: the 3.9 Collective Searches for Home features ten African American artists who formed a collective in response to the exodus of African Americans from San Francisco, leaving a mere 3.9 percent in this city known for its diversity and openness. Hireath is a Welsh word that "roughly translates to homesick," but as fellow collective member and the curator of the exhibition, Rhiannon Evans MacFadyen, points out, the word also means "a longing for a far-off home, one that may not even exist." Each artist responds to this Welsh word in a different manner, using a variety of media, making the exhibition powerful on both an aesthetic and emotional level. Is our sense of being rooted in a home or place intimately connected to our conception of who we are? Nancy Cato’s mural Uprooted is a potent image that calls to mind the isolation that African Americans can experience from being uprooted from their homeland due to slavery. The three figures with eyes closed have roots dangling from their feet, but they are not connected to a place or each other. Cato states: “As an artist I feel a tremendous responsibility and desire to visually respond to the enormity of being black in America. Our spirit and humanity has been relentlessly under attack and I would like to create work that encourages dialogue and healing.” Rodney Ewing’s Passages, comprised of four glass doors with images on both sides, allows viewers to literally see the connections between the displacement of Africans due to the institution of slavery, the resistance of slaves, such as H. Box Brown, and the resilience of freed African Americans who established black towns throughout the United States or who, like James Baldwin, became one of the most important writers of the 20th Century. Baldwin’s quote on the last door prompts viewers to contemplate the relationship between identity and self: “…Identity would seem to be the garment with which one covers nakedness of the self: in which case, it is best that the garment be loose, a little like the robes of the desert, through which one’s nakedness can always be felt and sometimes discerned.” Michael Ross’s UpHome/DownHome uses fabric to create hand-sewn houses that can also be worn as garments. It’s easy to imagine these lightweight silky houses as loose “robes of the desert,” both covering the self and allowing it room to be naked. As houses, they are beautiful to gaze upon, but as structures, they have no foundation, making them easy to move. As Ross comments: “In creating this art piece I have thought about the Black migration of the South in the mid 20th century and the Black migration out of San Francisco and other rapidly changing cities in the early 21st century.” Many black communities in San Francisco have been undergoing gentrification, resulting in migrations, but also in homelessness. William Rhodes’s Guardian of Forgotten Actions foregrounds the homeless African Americans of the Bayview community who once had a home and a role in society and who are now relegated to the margins where they are faceless. In one of the three opened suitcases that Rhodes designed to pay homage to the rich histories of the people he met and interviewed, a man’s face peers out at the viewer. Dressed in uniform with “Soldier” lit up in neon light above and an American flag draped from one side of the open suitcase to the other, it is painful to realize that this man, who served his country, is now living on the streets. Rhodes asked each person he met what home meant to her or him. “Everyone made it clear to me that they carry home with them wherever they go. Home for them is in their hearts, minds, and in their rolling suitcases filled with photos and personal belongings. It amazed me how spiritual and grateful these people were beyond their material despair. I wondered how you can stay positive and optimistic with no physical place to call home.” Although Rhodes could not restore the Bayview community, he did restore an important African and African American tradition, that of storytelling. By collecting the stories of the homeless people he met and bringing them to the public’s attention, he connected each of them to this rich oral tradition that records important histories, harkening back to the griot (the keeper of history), who recited the story of King Sundiata and his founding of the Mali Empire in the 13th century. Likewise, Ramekon O’Arwisters’s Have You a Little Fairy in Your Home? is a rag rug that embodies many stories and promotes the importance of continuity and community. O’Arwisters’s rug that hangs on the wall with its multitude of colors and textures was inspired by his paternal grandmother who made quilts. As the artist poignantly states: “Quilt-making with her is one of my fondest childhood memories, for I was embraced, important, and special. I was a little black boy hiding my queer self from my family during the harsh reality of the Jim Crow South of the 1960s and before the turbulent years of the Civil Rights Movement that spread throughout the country.” O’Arwister not only makes vibrant rag rugs that hang on walls, he brings people together to participate in what he calls a Crochet Jam. At the opening for the Hireath exhibition, he had a table set up with many large wooden crochet hooks and different colored fabrics. Everyone was encouraged to participate in the creation of a free-form rug. It was wonderful to see people join in and have fun with it, even if some expressed frustration because they couldn’t get it quite right. They were creating in a relaxing, accepting, and fun environment because O’Arwisters’s point is not to get it right. “I want participants to be in a creative mindset without anyone dictating the creative process nor concerned about the finished product. Crochet Jams are how I make liberation a form of art.” In the end, O’Arwisters’s story and his Jams emphasize the importance of accepting one’s self and building communities, two important ingredients for a thriving society. But, when black communities are forced to disperse to other areas or onto the streets due to gentrification, can these displaced individuals maintain a healthy sense of self? One of the lingering questions that the Hireath exhibit asks is: “Does San Francisco care if black people are here?” Hiraeth ends on April 21, 2015. There's a closing event at USF's Gleeson Library that features Rodney Ewing in conversation discussing the displacement of the African American community in San Francisco's Fillmore District. To get more information about the Hiraeth exhibit and the closing event, go to: http://www.usfca.edu/library/thacher/exhibitions/hiraeth/ Closing Event Info: http://usfcal.usfca.edu/EventDetails.aspx?data=oUtg1FbeNNPNq11ax4WuELQFjiTunuex To learn more about the 3.9 Collective and its artists, go to: http://threepointninecollective.com/ Upcoming Crochet Jams: Steep Brew Cafe, Whole Foods, Potrero Hill, ArtSpan's Hub, Thursday, May 7, 2015, 6–8 p.m. San Francisco International Airport (SFO), Safety, Health, & Wellness, 20 Aug 2015, 12–1 p.m. All quotes from the artists and curator are taken from the Hiraeth website; however, Mark Harris sent me his statement for this essay. For the Julie Beck article, "The Psychology of Home," the first quote is from Beck, but the second quote is from William S. Sax on page 2 of the article. © Celia S. Stahr 2015
69 Comments
JJ
4/6/2015 03:59:04 am
This is a very interesting commentary on what home means and many related topics. My experience for much of my life has been never living in one location for more than 2-4 years. I found that such factors as the language that was spoken (or if it was the same language, the accent that was spoken) and the climate would seep into my being. So, concerning the question of whether the individual remains unchanged regardless of the location, or is changed by the location – for me, I was definitely changed. Which is why I believe it is so important for us to have healthy communities. Our environments influence who and what we are. I also appreciated the images of the artwork which expressed many of the feelings that I experienced, especially of being uprooted.
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Celia
4/6/2015 11:55:08 am
Thank you for providing your experience with home. I agree that it is important to create healthy communities. This is why it is also important to prevent the destruction of long standing communities, such as the African American neighborhoods in the Bayview or Fillmore areas of San Francisco.
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Julianne Vinh
4/7/2015 06:19:20 pm
Titian's portrait of Isabella d'Este fittingly captured not only her status, but her individual identity as well. Her evident pride in the portrait indicates that she is confidently identifying as her own woman, rather than just the "wife of the Duke of Terrara" or the "daughter of Ercole d'Este." In a time when women possessed little to no autonomy, Isabella d'Este's wealth and high social class afforded her incredible freedoms to do as she pleased, instructing people to purchase art for her collection. Some facets Isabella d'Este's identity may have been relative to those of others, but for the most part she was able to carve out her own.
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Julianne Vinh
4/8/2015 02:14:43 pm
As for artworks from the 3.9 Collective, William Rhode's "Guardian of Forgotten Actions" is incredibly relevant to San Francisco. We have a homeless population that numbers in the thousands, ranging from children to the elderly, yet we don't really know who these people are. Though it has been recently realized that a good number of homeless people do have jobs, though the jobs aren't enough to cover the extreme living costs in this city, the majority of passers-by neglect to truly understand and remember that even the homeless have histories and identities regardless of their housing status. Rhode's work, along with efforts like Humans of New York, have begun to fill in the cracks of identity loss by allowing homeless people to share their stories.
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cara feder
4/8/2015 07:25:13 am
I thought Ramenkon O’Arwisters “Have You a Little Fairy in Your Home particularly interesting because he chose to involve others into creating it. The people in your life and who you are surrounded by are a piece of your identity. I think you can take and learn from everyone and that much like the quilt, the people in your community become a part of you. Theres so many colors and patterns intertwined which shows how complex a persons identity is and how much contributes to it.
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Judy Qin
4/8/2015 04:01:31 pm
Every time when I walked across the USF Thacher Gallery, the "Uprooted" created by Nancy really caught my eyes. Because the city I've been living in for so many years is not the city I was born, I always don't know how to answer some questions like "which city are you from?". I think being rooted is not only about having a place to stay, also it's about the psychological connection with the land or people around.
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Noel K
4/8/2015 04:02:04 pm
William Rhode's "Guardian of Forgotten Actions" made me reflect on things I often contemplate when observing homeless people and the way people treat them in San Francisco. The way I see people automatically judge the homeless without knowing their backgrounds bothers me. People automatically assume that every homeless person is lazy oaf or a drug addict. I've met many friendly, intelligent, kind, and optimistic homeless people who have a sense of warmth and "home" in what they say; regardless of the cold and lack of physical "home" they have.
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Noa C
4/9/2015 02:22:44 am
I found that Rhodes "Guardian of Forgotten Action" really made me think about how identity is not only something you create and form through out your entire life, but that it is also something that follows you. This is particularly true for the homeless population because of how they seem to be perceived with a stigma by many. His piece really shows that they are people too, with stories and identities that seemed to be forgotten in their unfortunate situations. But even if others don't see it clearly, their identities go far deeper than just being a part of the homeless population.
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Rachel E.
4/9/2015 02:44:28 am
Rhodes’s “Guardian of Forgotten Actions” shows that the things that one might consider part of their identity are often undisplayed and unseen by he public. The man who is pictured in the suitcase is a soldier, a protector, and a hero, but if one were to see him on the street today they would not think that. I think that Rhodes is trying to say that your situation and your environment can definitely change the perception of your identity, but it cannot change the core of who you truly are.
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McKenna F.
4/9/2015 04:55:15 am
Michael Ross' Uphome/Downhome really struck me once I understood it after hearing him speak about it during the artist's panel. He really made me realize that no matter where we come from, we bring our background and home life with us wherever we go. Ultimately, we, ourselves, should be our home, but it raises questions of self-identity and the identity of the home and how those identities define us. Ross successfully expresses this idea through a portable garment that is also an unstructured home.
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Sam Hinckley
4/9/2015 05:19:38 am
Nancy Cato's "Uprooted" really hit home for me personally. As she said in her statement, it gives an image to the feeling of the black experience in America, while also drawing on the fact that so many people were forcefully transplanted from their homeland to America. The fact that the characters are still somewhat floating without their roots connecting to anything I think could also symbolize feelings of alienation and disconnect. I love the visual style, and the imagery/symbolism behind it. I think the graphic/comic style she uses helps reach a wide audience, yet it doesn't diminish any of the meaning behind the image, and still is able to conjure up thoughts regarding the atrocities our nation has committed; particularly in this example our nations history of race relations. So overall It strikes me as a powerful, attractive, image, loaded with meaning, and accesible to most everyone.
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Valentina F.
4/9/2015 05:25:20 am
Ramekon O’Arwisters uses a lot of color in "Have You a Little Fairy in Your Home?" but they all are intertwined into a single rug. Perhaps it is an ideal for our society. While there are many different colors they coexist and create a single object. There are many identities that live within our society but maybe O'Arwisters is expressing that the identity we give off as a whole is just as important as the individual identity.
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Justin B
4/9/2015 05:53:32 am
Nancy Cato's, "Uprooted," is an extremely powerful piece that illustrates the connection of our homeland to our identity. Every city, town, or village has unique style, tradition, beliefs, slang, food, and all around culture. All of these elements are integrated into the way we are born and raised. It through this developmental stage in which we first start developing an identity for ourselves and others around us. No matter where we are uprooted from and planted once again, we will always carry our homeland near and dear to us, forever staying true to who we are while soaking up the culture around us thus constantly developing our identity.
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Casey H
4/9/2015 06:07:39 am
Mark Harris, "To Be Young, Gifted, and Criminalized," has a very clear identity being portrayed. The look on the boys face fits perfectly with the innocent young gifted boy. Despite having gaping holes he continues to look up at the problems. Harris is identifying with the young smart black kids everywhere that are destroyed by the system. Harris is identifying with his own smart innocent self that made it beyond the bullet wounds of modern society.
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Julia Kranzler
4/9/2015 06:36:31 am
Regardless of age or race, I think a lot of people struggle with the concept of finding a "home". It's a topic I've been thinking about a lot lately coming to college. I grew up in the Bay Area, but San Francisco has yet to feel like a home to me. The one piece from the 3.9 Collective that struck me as memorable was Nancy Cato’s "Uprooted". The work itself shows the black citizen's sadness and confusion and ultimately says so much by saying so little. The mural itself is fairly minimalistic in regards to composition but the message itself is bigger than the mural could ever be.
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Breeann S
4/9/2015 06:56:04 am
Ramekon O'Arwisters's "Have You A Little Fairy In Your Home" touches on the issue of identity in many ways. As a child, Ramekon struggled with his identity as a young African-American homosexual in the South. At this time, the only safe outlet Ramekon had was making quilts with his grandmother, as she created a positive environment free from judgement. "Have You A Little Fairy In Your Home" is an extension of the security and acceptance that Ramekon felt while with his grandmother. Not only does a quilt provide warmth and security in the literal aspect, but the fabric is many different colors and the shape of the quilt is free of form, thus characterizing the diversity of humanity.
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Vince M
4/9/2015 07:32:51 am
William Rhode's, "Guardian of Forgotten Actions" is an eye opening piece because it really shows the struggles in America today and the ongoing issue of homelessness. Far too often, men and women who risk their lives to protect their country end up on the streets. It is a touchy subject and just goes to show that no matter how good the US looks on the outside looking in, those who are on the inside see the many problems that we face. We have organizations that help the homeless by giving food and shelter but the real issues are at the root and these organizations are merely just putting a bandaid over the issue. People need to understand that homeless people are humans like the rest of us meaning they've had a past, they have a future, and we all share emotions. Don't be so quick to judge or assume.
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John Finkenberg
4/9/2015 07:44:10 am
I found William Rhodes’s "Guardian of Forgotten Actions" incredibly striking. The piece pulls at the viewers heartstrings and captures the un-imaginable. The fact that African-American men who served our country were left without a home or even a place to stay for the night is incredibly disconcerting. The piece itself is interesting in how it uses a suitcase to symbolize that the man basically has to carry his whole life on the back of his shoulders. Even though the storyline of the piece is hard to fathom, there seems to be a sense of positivity or hope within the piece. The glowing neon sign that reads, "Soldier" gives the viewer the promise for a brighter future. The picture of the African-American man tied to the threads of the American flag furthers the pieces background. These men gave their lives to protect our country and they are the soul, the heart of what this country stands for.
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Emily R.
4/9/2015 09:08:39 am
The first image, "To Be Young, Gifted, and Criminalized" really struck me the most. This imagery is very straight forward, but incredibly powerful nonetheless. The word "hopeless"comes to mind because it is apparent that regardless of how our culture evolves toward equality, there is little hope of eradicating the stereotyeps that society places on the individual based on external appearance. In other words, no matter how gifted an individual is, the outside world cannot see those gifts and will make snap judgments based on what they can see. The phrase, "beauty is in the eye of the beholder", also comes to mind, as we place so much value on an indivuduals right to choose how they view another person. How much choice to we really have? Has our culture unknowingly taken away that choce by engraning these stereotyepes so deeply in our minds they cannot be ignored? Are we even capable of truly and honestly putting those stereotypes to rest?
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Celia Stahr teaches art history at the University of San Francisco. She’s interested in women artists and artists who cross cultural boundaries. She fell in love with the power of Frida Kahlo's art in the 1980s, a feeling that has intensified over the years. Frida in America took 10 years to research and write, but Stahr never lost interest in this fascinating woman and artist.
AuthorCelia Stahr's Archives
October 2022
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