Barack Obama's Election - The View from Chicago 
My son and I went to Grant Park on Tuesday night for the election night Barack Obama rally and victory celebration, standing for hours amongst a veritable sea of our fellow Chicagoans. A once in a lifetime world changing event like this was not something I was going to let my son miss. I had figured he might eventually see something like this in his lifetime; I honestly didn't think it would happen in mine. In spite of a personal history that includes collecting money for the Dr. Martin Luther King, Jr.'s Poor People's Campaign when I was in junior high school, joining the Black Student Union in my high school--where forty-one of us black, white, and Latinos students locked the principal in his office and subsequently got arrested for demanding, among other things, African American teachers--then joining the Black Panther Party, and participating in untold numbers of demonstrations and marches for a wide range of causes, I had come to measure progress by the slow glacial pace of change that things usually proceed with. It is the cumulative set of historical and never ending agitations that lead to whatever advances take place; each generation is charged with continuing the struggle. Being in that sea of people of every hue, age, and class at Grant Park was an inspiring testimony to Obama's ability to convince people of the power in those simple but self empowering words, "Yes we can," and their own ability to work together across lines of seeming difference and to believe in a collective "we" that has the power to move history forward.  Faith--coupled with collective hard work and the most efficient political campaign ever mounted in the history of modern politics--moves mountains, indeed. 

Barack Obama's ascendency to the presidency is a total global game changing occurrence, as witnessed by the international response to his candidacy both pre and post victory. Beholden to, and directly a result of all of the struggles for justice preceding it, Barack Obama is the living embodiment of Maya Angelou's words: "I am the dream and the hope of the slave." Veteran civil rights activist John Lewis said tonight on 'Oprah' that he felt a sense of divine providence in Obama's campaign, as if "history had chosen him for this moment." The unikely story of his life would seem to give credence to this. Barack Obama's father came to the United States in 1960 as part of an airlift program spearheaded by then senator John F. Kennedy at the urging of Tom Mboya, a Kenyan labour leader and Pan Africanist. The program, which was designed to provide an American education for a selected group of Kenyan students, was modeled on other Cold War era exchange programs intended to bolster the image of the USA on the world stage by supporting developing nations, except that no one had thought to include African students in the deal. As chair of the Senate's commitee on Africa Kennedy committed $100,000 of his own family foundation's money to the program when government funding was not forthcoming. In the presidential election later that year--which pitted Richard Nixon against Kennedy--Nixon decided that Kennedy's largesse might reflect too favorably on the Democratic candidate, and tried to appropriate the program for the Republicans. Kennedy prevailed however, and once the program was implemented one of the first students to get a ticket to come to America from Kenya was Barack Obams, Sr. Eventually attending Harvard he had met Ann Dunham, the woman who became Obama Jr.'s mother, when he arrived . When Obama Jr. was but two years old his father left and returned to Kenya, and Obama's relationship with him was thereafter a minimal one; an empty space left where a father should have been. But the father's simply coming to these shores brought his son and namesake into being, which then brings us to this profound moment. 

















So Obama's story begins, in a sense, with John F. Kennedy, and his decision to make an American education available to that group of African students in 1960. There is an eerie symmetry to the fact the Robert Kenndy. Jr. is now reportedly being considered for a post in an Obama administration, possibly bringing this whole story full circle. Caroline Kennedy's early endorsement of Obama was indeed based on her knowledge of her family's connection to Obama through her late father. 

This is, of course, only one piece in an extraordinary story. Here in Chicago it's a very personal story, since Barack has been so much a part of the fabric in this city and in the Hyde Park neighborhood that he and his family call home. From his regular visits to the neighborhood barbershop, to his strong support of the Hyde Park Art Center (he was instrumental in securing state funds for facility's planning for the the new building in which this important neighborhood art center is located), to my own periodic encounters with him in the neighborhood (honking the horn of his black Range Rover and shouting to get my attention), and at the homes of mutual friends, I have always gotten the sense of a deeply engaged person and one profoundly committed to service, family, and positive social change. As another black man with an Ivy League degree and a "funny name" who also doesn't toe the black status quo line, I empathized with Barack as soon as I met him.

In addition to the overwhelmingly profound joy of the moment, and what it says about America's evolution as a 21st century global nation, I am relieved to not have to hear the continuous din of the return of white racist supremacist ideology given public voice in the form of Sarah Palin. In the most insidious way Palin gave racism and xenophobia a spunky and charming face--wink, wink--with her insistence that Barack Obama was not "one of us," and deriding his meaningful work as a community organizer as little more than the empty liberal posturing of someone trying to avoid a real job. Beginning with Bush (who publicly celebrated his own academic mediocrity as a C student) and continuing with McCain (number 894 in a graduating class of 899), and then continuing to Palin's spotty and unambitious academic history, the Republicans have presided over an atmosphere that increasingly celebrated mediocrity and denigrated intellectual achievement, curiosity, sophistication, and an expansive and engaged word view. Eloquence itself became a slur. Bush did not even have a passport when he became president, and likewise Palin at 44 years of age only got her passport barely two years ago. My son had a passport when he was but one year old, then traveling to London. He's been traveling all over the world ever since. How wonderful then to have a president elect whose personal narrative is in itself an embodiment of worldliness, intellectual engagement, curiosity, principal, and a sense of the common good. I couldn't have hoped for a better example for my son than that.












Rest in Peace
Obama's ascendency comes, sadly, at the moment of passing of Studs Terkel, the legendary author-radio host-activist and deeply devoted Chicagoan who passed away this past weekend, the same weekend which saw the loss of Barack Obama's grandmother Madelyn Dunham. Terkel was a humanist whose books--particularly Working and Race made an early impact on me with their moving first person narratives that allowed everyday people to hold forth in their own voices about the lives they were living, talking about what they thought and felt. These personal and wide ranging stories would never have entered into the public sphere but through Terkel. The multifarious people holding forth in Terkel's narratives have now found a shining voice in Madelyn Dunham's grandson Barack Hussein Obama, Chicago's very own.

Photographs: top, Celebrants at Grant Park (photograph by Kuni Takahashi/Chicago Tribune); Dawoud Bey and Ramon Alvarez-Smikle in Grant Park (photographed by John Phillips); John F. Kennedy greets Peace Corp volunteers; Studs Terkel
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Birmingham on My Mind

September 15, 1963 - Fifty Years Later

One night, many years ago, a book appeared in my suburban Jamaica, NY home. My parents had attended a lecture that James Baldwin had given at our church, Calvary Baptist Church, and had returned with the book in hand. While the church never struck me as a particularly activist one, our minister, Rev. Walter S. Pinn, had let it be known on more than one occasion that he had marched besides Dr. Martin Luther King, Jr. There was a small black and white photograph hanging in the church vestibule that proudly and permanently testified to that fact. Most likely my folks purchased the book after Baldwin's talk as part of SNCC's fundraising efforts.
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On The Passing of Two Giants

This has been a difficult month, what with the loss of poet and activist Louis Reyes Rivera, and even more recently the esteemed artist Elizabeth Catlett. Both Rivera and Catlett were artists who were unabashedly forthright in their adherence to the cause of social justice, and equally as forthright in their adherence to practicing at the highest level of of their respective art forms.
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Reshaping The Art/Museum/Public Experience

The past few months have been interesting ones for those interested in the ways in which art practice, public institutional practice and their various audiences interact. As the economy has taken a downturn lately public institutions have begun to think about the ways in which they do or do not engage that larger audience that their very survival depends upon.
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The recent passing of Dr. Billy Taylor was marked by notices of his contribution to jazz music as both musician and advocate. Taylor, in addition to being a seminal jazz pianist, had sustained for over four decades a position as one of the music's most visible and preeminent spokespersons, having taken on the role of educator and institution builder among his numerous other accomplishments in the field.
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Recent Censorship Recalls Spirit of an Earlier Era

In 1936 Adolf Hitler, German Chancellor, instructed Adolf Ziegler, president of the Reich Chamber of Fine Arts, to put together an “exhibition of shame”, depicting the “deterioration of art since 1910”. Ziegler gathered a group of what were called “art inspectors” to trawl through the public museums and galleries. The committee compiled everything from some 100 art collections they considered useful for defaming the Modernist movement.
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John Boehner Fires the Opening Salvo

I had the rather auspicious fortune to be in Washington, DC for several days this past week when the opening salvo of a new round in the Culture Wars was fired by Congressman John Boehner.
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A Different Kind of MoMA?

On a recent trip to New York I had one of those rare epiphany like moments where I found myself standing in front of a group of works that spoke clearly to how the work we do as artists might actually matter in the world. Such was the impact of this show on me that almost every other exhibition I saw both before and after in those three days came to feel almost meaningless, like so much empty, aestheticized and useless decoration.

National Endowment for the Arts chair Rocco Landesman was in Chicago recently, holding a series of meetings, gatherings, and conversations with various institutions and the arts community.

I was the speaker at the Yale University School of Art Commencement this past Monday. The School of Art ceremony followed the school wide ceremony on the Old Campus where, among others, Aretha Franklin fittingly received an honorary Doctor of Music degree. The feeling of well earned and shared accomplishment was palpable walking amongst the families of the graduates, and I was reminded yet again of the hard work and sacrifice that these moments are invested with.
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Dawoud Bey
Dawoud Bey
Dawoud Bey
Photo © by Jason Smikle
About Me
About Me
Chicago, IL, United States
I began making photographs in 1969 after seeing the "Harlem On My Mind" exhibition at the Metropolitan Museum of Art. I had inherited my first camera the year before from my godfather Artie Miller when I was fifteen years old. I began my first project "Harlem, USA" as a direct result of that exhibition and my own family's history in the Harlem community. Born in Queens, NY my formal training began by apprenticing to local commercial and fashion photographer Levy J. Smith and then later studying at the School of Visual Arts with Larry Siegel, William Broecker, Shelley Rice and Sid Kaplan. I completed my undergraduate work at Empire State College under the guidance of Mel Rosenthal and Joe Goldberg and did my MFA at Yale University in the graduate photography program under the watchful and rigorous eyes of Tod Papageorge and Richard Benson, along with Lois Conner, Frank Gohlke, Susan Kismaric and Joel Sternfeld. Classes with Robert Farris Thompson and Michael Romer significantly rounded out my graduate work. A former Guggenheim and NEA fellow, I am currently Professor of Art and Distinguished College Artist at Columbia College Chicago, where I have taught since 1998.
"What's Going On?"
"What's Going On?"
Marvin Gaye's signature song "What's Going On?"--a musical critique of a world gone off track--provides an apt framework for looking at the role of art and cultural production in the larger society.

With so much art being made at all ends of the market, it's always a good thing for artists to look both forward and back in trying to access the role that art can play in a larger society, a society that actually exists largely outside of the distorting bubble of the Art World. When one of my students recently answered the question of why she was in school in an MFA program with, "So I can be a part of the system," I knew it was time for a reassessment and a forum from which to look at the various histories in my own little corner of the art and "real" world.

Artists used to be the ones who led the charge to challenge the system; they were the proverbial "fly in the buttermilk," the monkey wrench that mucked up the system and made it act, function, and exist in new ways. Artists were the ones who created paradigms of everything the system was not. James Baldwin once said, "Artists are here to disturb the peace."

This blog will range freely over a range of issues, highlighting individuals, events, and ideas that provide a catalyst for thought and reflection. Hopefully for younger artists it might provide a sense of a world both in and outside of the so-called art world, and hopefully provoke a conversation about the relationship between the two while offering a thought or two about just what ones work might be about as one attempts to engage both history and the contemporary moment.

For others this blog might serve as a window into how one particular artist, after three decades of practice, sees and thinks about the vast world of human social and aesthetic experience. Consider this my own small commentary or my brain periodically laid bare for your perusal and consideration.

Feel free to use the "Comments" button to share your thoughts and responses if so provoked.
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