Ballet Performance at Robert E. Lee Monument

Ava Holloway & Kennedy George, American

Ballet Performance at Robert E. Lee Monument, 2020

In the wake of global Black Lives Matter protests, teenage ballerinas Ava Holloway and Kennedy George repurposed space with their bodies, which were historically seen as inferior to that of Richmond’s infamous Confederate monuments. A joyous expression of black life and solidarity amidst the now colorfully spray-painted statue of Robert E. Lee, the two friends were captured in a spontaneous photo session by freelance photographer Julie Rendleman. The photo quickly proliferated on social media, spurring performances in front of other polarizing monuments and promoting Brown Ballerinas for Change, a nonprofit that seeks to increase the participation of underrepresented girls in ballet. This act of vitality stands against and with the reality of inhabiting a body of color today—amidst shouts of “I can’t breathe” and the surge of bodies taking to the streets during a pandemic, the simple act of girls moving in a way that brings them joy is a profound form of resistance. Label by Kristin Rheins

This photo shows two Black ballerinas, Ava Holloway and Kennedy George, posing on the Robert E. Lee statue in Richmond Virginia shortly after Governor Northam announced its pending removal. Shown en point in black tutus, with the backdrop of the graffiti covered pedestal, raising their fists in the Black Power sign, the two young women radiate power and strength. This is part of a total reclamation of this space that has been ongoing during the protests in Richmond. What was once a symbol of power and oppression is being transformed into a space that is open to all Virginians. Ultimately this image is both powerful and hopeful at the same time. Label by Savannah Singleton

Reclaiming the Monument

Dustin Klein, American

Reclaiming the Monument, 2020

The projections on Richmond, Virginia’s Robert E. Lee’s monument began in early June 2020 at the initiation of Dustin Klein, a graphic-visuals artist. The images are in black and white. While figural representations of figures like George Floyd and the Power Fist cover the monument’s pedestal, the horseback figure of Robert E. Lee himself is silhouetted entirely except for the illuminated letters BLM, an acronym for “Black Lives Matter.” Inspired by the Black Lives Matter protests that emerged during the Covid-19 pandemic in response to the police murders of George Floyd and other African-American victims, the projections seek to illuminate Black history of victimhood, resilience, and revolution. Calling attention to the plight of past and present Black Americans, Klein also projects images of Harriet Tubman and Frederick Douglass—relating undisputed icons of American liberty with the contentious present of police brutality in the United States. Label by Hannah London

Marcus David-Peters Circle Sign

Various

Marcus David-Peters Circle Sign, 2020

This graffitied sign, which appeared in August of 2020 after the previous sign was stolen by white supremacists, designates the area around Richmond’s Robert E. Lee Monument as Marcus David- Peters Circle, named for a Black Richmonder killed by police in 2018. In contrast to the previous sign, which was modeled after mid-century tourism signs, this new sign is in a graffiti style, with jaunty block lettering and bright colors spelling out “MDPC: Marcus David Peters Circle.” This style both mirrors the graffiti which covers the monument in the circle and reflects the communal frustration of Richmond in the face of systemic racism and police brutality. Additionally, its illegality (as neither it nor the Circle was approved by the state) embodies specific action taken by the community against the oppressive Richmond government. The sign is also making a profoundly ecological statement; it is placed directly in the middle of the impromptu community garden in the Circle, indicating that the unity and solidarity within Richmond must necessarily address the role that ecological factors play in systemic racism. Label by Maxwell Cloe

Corona Rises

Tomas Serrano

Corona Rises, 2020

This piece was created by Spanish artist Tomas Serrano in response to the news of rising Coronavirus cases in New York City. The rising sun, which has been drawn as to look like the Coronavirus itself, rises over New York City, casting a red hue across the buildings. The use of sunlight to depict the virus emphasizes the pervasive, unstoppable spread of the virus, as it affects everything it touches. The closely aligned buildings emphasize the compressed nature of living in NYC and the rising “sun” emphasizes the rising concern and impact of Coronavirus. The virus, in this case, is being depicted as an inescapable part of the lived environment. As many residents of NYC with access to safer housing flee the city, seeking safety in the countryside, this piece stands to highlight the increasing threat of the pandemic, as well as lead the viewer to consider the implications for lower-income residents who cannot escape the compressed environment of the city. Label by Gwyneth McCrae